A 

A 

0 

0  I 

o ! 

4 
3  I 

7  I 

7  i 


^ /|— 


RARY^r 


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^  A     /^ — "X.  *\     /""""V   ' 


Aspects  of  the  Speech  in 
the  Later  Roman  Epic 


HERBERT   CANXON   LIPSCOMB 


H  Dissertation 


SUBMITTED  TO  THE  BOARD  OF    UNIVERSITY  STUDIES    OP    THE   JOHNS    HOPKINS    UNIVERSITY 

IN   CONFORMITY    WITH  THE  REQUIREMENTS  FOR  THE  DEGREE  OF 

DOCTOR  OF  PHILOSOPHY 

1  907 


BALTIMORE 

J.    H.    FURST    COMPANY 

1909 


Aspects  of  the  Speech  in 
the  Later  Roman  Epic 


HERBERT   CANNON   LIPSCOMB 


H  HHssertatfon 


SUBMITTED   TO   THE   BOARD   OF    UNIVERSITY   STUDIES    OP    THE    JOHNS    HOrKINS    UNIVERSITY 

IN   CONFORMITY    WITH   THE   REQUIREMENTS  FOR  THE   DEGREE  OF 

DOCTOR  OF   PHILOSOPHY 

1907 


BALTIMORE 

J.    H.    FURST    COMPANY 

1909 


\ 


CONTENTS. 


PAGE. 

Introduction 5_o 

Percentage  of  Speech  in  the  Roman  Epics G-S 

Number  of  Speeches 8 

Average  Length  of  Speeches 8-0 

Longest  and  Shortest  Speeches 9-10 

Percentage  of  Speech  in  Various  Books  of  Different  Epics 11-13 

Tables  of  Statistics  for  the  Roman  Epics 13-15 

Speech  within  Speech 15-16 

Speakers  in  Epic 10 

Objects  Addressed  in  Epic 16-17 

Distribution  of  Speeches  among  Characters 17-18 

Gods  as  Speakers  in  Epic 

Amount  of  Oratio  Obliqua'in  Epic 20-23 

Restriction  of  Direct  Speech  in  Messenger-scenes 23-26 

Speech-scenes 20-30 

Points  of  Technique  Showing  Departures  from  the  Gre<  b  I    a;    30-3S 

I.    Parenthetic  Expressions 30-30 

1.  Parenthetic  Phrases  in  General 30-32 

2.  Stag(  -directions 3! 

".    !'  to  the  Speaker 

/'.    '■'  to  the  Person  A  

<■.    Other  References 

I            l  'arenthetic  I                                   ad  Claudian 86 

II.    5                     inning  and  Ending  within  the  Verse 8< 

III.                  [mmediatel    I           itive  in  Dialogue 87-88 

Monologue  in  the  Later  Epic 88   18 

Lamenl  forthe  Dead 48  11 

1           i-'  Speecbe  I!    16 

Summary 


ASPECTS   OF  THE   SPEECH   IN   THE   LATER 
ROMAN    EPIC. 


\  The  recent  monograph  by  G.  TV.  Elderkin,1  dealing  chiefly 
-with  various  external  aspects  of  the  speech  in  the  later  Greek 
epic,  has  suggested  a  like  investigation  on  the  Latin  side.  It  is, 
therefore,  the  purpose  of  this  paper  to  determine  to  what  extent 
the  Vergilian  standard  was  followed  by  the  later  Roman  epic  in 
its  use  of  direct  speech  as  a  constituent  of  epic  technique,  and 
to  compare  the  usages  of  the  various  poets  of  the  later  period  to 
see  how  far  they  differ  among  themselvesj  With  the  hope  of 
making  this  work  at  the  same  time  a  companion  study  to  that 
cited  above,  similar  lines  of  inquiry  have  been  pursued ;  but 
little  attempt  has  been  made  to  enter  into  a  discussion  of  the 
content  of  the  speeches  or  of  their  relation  to  the  movement  of 
the  poem  in  which  they  occur. 

X^  It  is  obvious  that  in  the  Latin  epic  one  has  to  deal  with  a  class 
of  poems  all  of  which  belong  to  the  same  general  period  ;  no  great 
dissimilarity  in  type  exists  between  Vergil  and  his  successors 
such  as  that  which  separates  Homer  from  the  later  Greek  epic; 
and  it  is  to  this  fundamental  difference  that  Pa  tin  largely 
attributes  those  characteristics  which  distinguish  Vergil's  art 
from  thai  of  Eomerjj  "En  somme,  les  differences  qui,  malgre'la 
communaute'  du  genre  et  les  rapports  de  limitation,  Beparenf 
Virgile  d'Homere,  se  resumenf  dans  la  difference  generale  de 
I'epopee  artificielle  des  ages  poh's  et  de  ['epopee  aaive  des  epoques 
primitives.'' a  ([Although  the  Roman  epics  from  the  time  of 
Vergil  ;ir<'  all  ili"  products  of  such  an  age  of  reflection,  one  may 

1  Aspects  of  the  Speech  in  the  Later  Greek  Epic,  Baltimore)  I906i 
'Etudes  Bar  is   Poe"  ie  Latine,  2nd  ed.,  i,  p.  -"'■'>.     It  ia  i"  be  borne  in  mind 
Lnoe  Patin'    tin*   the  prevailing  opinion  of  tlomeraa  the  representative  of 

"  1' epopee  i  epic  be    been  considerably] lined; 

tlii-  fact,  however,  d  th<   force  of  the  above  quotation   in  this 

connection. 

6 


6  Aspects  of  i/ic  Speech  m  the  later  Ionium  Epic. 

expect  t<>  find  much  that  will  prove  of  interest  in  comparing  the 
use  of  the  speech  in  the  A.eneid,  in  which  fable  and  history  are  so 
skilfully  interwoven,1  with  that  in  the  mythological  epics  of 
Valerius  Flaccus  and  Statins,  and  in  the  historical  epics  of  Lucan 
and  Siliua  Italicus;  Clandian  also  offers  material  for  investigation 
in  these  two  departments  as  well  as  in  the  invectives  and 
panegyrics.2 

As  regards  the  literature  on  the  subject,  little  has  been  done, 
as  far  as  concerns  those  phases  of  the  speech  which  are  to  be 
considered  here,  for  such  discussions  as  those  found  in  the  studies 
of  Heitlaud,3  Summers,4  and  Legras  6  have  to  do  with  the  content 
of  the  speeches  rather  than  with  their  external  form.  The  results 
of  Basore's  °  investigation  of  Lucan  have  been  found  useful  in  the 
study  of  the  monologue  and  dialogue,  while  Heinze's  7  chapter  on 
the  speech  in  Vergil  has  furnished  much  in  the  way  of  norms  of 
comparison. 

[^With  these  few  introductory  words  let  us  now  take  up  the 
question  first  presenting  itself  for  our  consideration,  that  is,  the 
statistical  side  of  the  use  of  the  speech  in  the  Roman  epic.8 

M.  Schneidewin  9  has  given  the  figures    showing  the  relative 

JCf.  Patin,  op.  cit.,  pp.  1S3,  200. 

2  The  fragments  of  Livius  Andronicus,  Naevius,  and  Ennius  yield  but  little 
worthy  of  consideration  here. 

!  Introd.  Haskins's  ed.  Pharsalia,  pp.  lxx-i. 

4  A  Study  of  the  Argonautica  of  Valerius  Flaccus,  pp.  60-1. 

5  Etude  but  la  Th<5baide  de  Stace,  pp.  280-94. 
«T.  P.  A.  P.  A.,  xxxv  (1904),  pp.  xciv-vi. 

7  Virgils  Epische  Technik,  pp.  396-424. 

8 In  this  investigation  the  following  editions  (Teubner  text)  have  been  used  : 
Vergil,  Ribbeck  (1903)  ;  Lucan.  Hosiua  (1892)  ;  Valerius  Flaccus,  Baehrens 
(1875)  ;  Statins,  Th.,  Kohhnann  (1884)  ;  Ach.,  Klotz  (1902)  ;  Silius  Italicus, 
Bauer  (1890)  ;  Claudian,  Koch  (1893). 

It  is  to  be  noted  that  five  of  the  epics  considered  are  unfinished  ;  were  this  not 
the  case,  it  is  possible  that  the  results  obtained  would  dill'er  slightly  from  those 
to  be  given  here. 

lieszuHomerosund  Vergilius,  N.  J.  f.  Ph.,  1884,  1, 129  ff.  Schneide- 
win does  not  vouch  for  the  accuracy  of  the  figures  for  Vergil :  "  Die  Vergilischen 
zahlen,  welche  einige  fleiszige  obersecundaner  fur  mich  zusammenzustellen  die 
gefalligkeit  gehabt  haben,  konnten  kleine  unrichtigkeiten  enthalten,  welche 
jedodb    daa    gesamtresultat    nicht  in    irgend  nennenswertem    grade  beeintriich- 


Aspect*  of  the  Speech  in  the  later  Roman  Epic.  7 

amount  of  speech  in  Homer  and  Vergil — 50  per  cent,  of  the 
Iliad  and  Odyssey,  38  per  cent,  of  the  Aeneid.  In  examining 
the  later  Roman  epic  in  this  regard  one  finds  that  rhetoric  does 
not  necessarily  mean  speech-making,  and  is  met  by  the  sur- 
prising fact  that  this  marked  tendency  which  Vergil  shows,  in 
comparison  with  Homer,1  to  restrict  the  use  of  direct  speech  has 
been  inherited  by  the  later  epic  poets,  who,  with  the  exception 
of  Statins  in  the  Achilleid  and  Claudian  in  the  historical  epics, 
are  even  more  conservative  ;  the  amount  of  speech  in  no  case 
equals  the  Vergilian  standardj  .[The  Roman  epic,  however,  shows 
no  such  wide  difference  in  usage  as  does  the  Greek,2  for  no 
author  departs  more  than  8  per  cent,  from  the  practice  of  Vergil./ 
Of  the  9896  verses  of  the  Aeneid,  3757  (38  per  cent.)  are 
devoted  to  speech.  Lucan's  Pharsalia  contains  32  per  cent, 
speech,  2586  verses  in  8060.  A  slight  increase  is  seen  in 
Valerius  Flaccus.  The  Argonautica  has  1911  verses  of  speech 
or  34  per  cent,  of  the  5592  verses  in  the  epic.  Statius  shows 
a  still  nearer  approach  to  Vergil,  for  slightly  over  37  per  cent. 
of  the  Thebaid  and  Achilleid  is  given  to  speech,  4037  of  the 
10868  verses.  Of  the  1127  verses  of  the  incomplete  Achilleid, 
455  (40  per  ceDt.)  are  speech.  The  Thebaid  contains  !»7  11 
verses,  of  which  3582  (37  per  cent.)  consist  of  oratio  recta.  The 
Punica  of  Silius  Italicns  has  but  31  per  cent,  speech  or  3759 
of  its  L2202  verses.  From  an  investigation  of  Claudian's 
mythological  and  historical  epics,  invectives,  and  panegyrics  it 
\b  found    ili.it   -Jin:;   [30  per   cent.)  of  the  8050    verses  in  the 

Prom  an  examination  of  the  Aeneid  it  is  found  that  the  percentage  for 

the  whole  poem  varies  bul  little  from  Schneidewin's  results,  thongb  thediffer- 

enoee  in  the  cumber  of  v< ••  h  in  the  individual  books  extend  from  2 

(in,  vii  )  to  1  1 1  vv.  (vim,  Snal  decrease  of  68  w.  in  the  total  amount 

..I*  speech,  which,  according  to  Schneidewin's  statistics  on  pp.  183  2,  should  be 

.,.i  the  preceding  page  the  total  is  given  as  8862  w.     (Note 

also  the  different  figuj  for  book  n  in  the  first  and  second  tables).     These 

y  l>e  <lue  partly  t"  the  fact  that  in  the  writer's  statistics  for  the 

within  which  the  Bpeech  ends  bav< 

ill  te.     A    i  i  ni   of  the  various  I ks  of  the   Aeneid 

rding  to  tfa  h  tva  ,  therefore,  found  necessary. 

'  d.  Heinze,  op.  cit.,  pp. 
.  Elderkin,  op.  cit.,  p.  6. 


Aspects  <■/  the  Speech  in  the  later  lioman  Epic. 

poems  arc  given  to  direcl  Bpeech.  Of  those  departments,  the 
historical  epics,  IV  Bello  Gildonico  and  De  Bello  Gothico,  have 
It!  per  cent  speech,  ■">">'»  in  1  1  7:1  verses.  Next  in  order  is  the 
onfinished  epic,  De  Etaptu  Proserpinae,  with  the  fragment  of  the 
Gigantomachia.  Of  the  1236  verses,  449  (36  per  cent.)  are 
speech.  If  the  statistics  be  based  upon  these  four  poems  alone, 
Clandian  employs  41  per  cent,  speech.  The  invectives,  In 
Ixiil'mum  and  In  Eutropium,  have  (519  verses  of  speech  or  31 
per  cent,  of  an  aggregate  of  2029  verses.  A  further  decrease 
is  found  in  the  3612  verses  of  the  panegyrics  of  Probinus  and 
Olybrius,  Manlius  Theodorus,  Honorius,  and  Stilicho,  and  in  the 
Laus  Serenae,  which  contain  796  verses  of  direct  speech  or  22 
per  cent. 

£Again  a  departure  from  the  Vergilian  standard  may  be  seen  in 
the  number  of  speeches  employed,  for,  with  the  exception  of  the 
Argonautica,  none  of  the  later  epics  uses  the  speech  so  frequently 
as  does  Vergily  In  the  Aeneid  there  are  331  speeches  (1  in  30 
-).  The  Pharsalia  shows  a  noteworthy  decrease  with  but 
120  speeches  (1  in  67  verses).  Valerius  Flaccus  employs  188 
speeches  (1  in  30  verses),  slightly  exceeding  Vergilian  frequency. 
In  the  two  epics  of  Statius  there  are  280  speeches  (1  in  39 
verses) — 248  in  the  Thebaid  (1  in  39  verses);  32  in  the  Achilleid 
(1  in  35  verses).  The  12202  verses  of  the  Punica  contain  299 
speeches  (1  in  41  verses).  Direct  speech  occurs  still  less  fre- 
quently in  Claudian  ;  the  four  departments  considered  yield  but 
102  speeches  (1  in  79  verses).  In  the  mythological  epics,  where 
direct  discourse  is  most  often  used,  there  are  only  26  speeches 
(1  in  48  verses).  In  the  invectives  there  are  30  speeches  (1  in 
68  verses);  in  the  historical  epics,  17  (1  in  69  verses).  The 
widest  departure  is  seen  in  the  panegyrics  with  29  speeches 
(1  in  1  25  verses). 
£This  decrease  in  the  percentage  of  speech  and  in  the  number  of 
which  the  later  epic  for  the  most  part  shows,  indicates  a 
i  '<['  the  conversational  element  in  keeping  with  the 
general  characteristics  of  this  period  of  public  recitation.  Pass- 
ing, however,  to  the  question  of  the  average  length  of  the  epic 
Bpeech,  one   would  naturally  expect  to  find  an  increase  in  those 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  9 

poems  produced  in  au  age  when  the  rhetorical  schools  flourished. 
and  ostentatious  declamation  was  the  chief  delight  of  an  idle  circle 
of  dilettanti.  In  point  of  fact,  this  tendency  is  seen  in  all  the 
poets  of  the  later  period,  with  the  exception  of  Valerius  Flaccus, 
whose  speeches  are  even  shorter  than  those  in  Vergil — 10. 1G  vv. 
in  the  Argonautica  as  compared  with  11.35vv.  in  the  Aencid. 
The  average  length  of  the  speech  in  Lucan  (21.55  vv.)  is  almost 
twice  that  in  Vergil."]  Statius  (14.42  vv.)  aud  Silius  Italicus 
(12.57  vv.)  are  more  conservative.  The  length  of  the  speech  in 
Claudian  (23.56  vv.)  is  greater  than  in  any  other  of  the  epic 
poets.  In  the  panegyrics  (27.45  vv.)  and  historical  epics  (31.71 
vv.)  the  speeches  are  longer  than  in  the  mythological  epics  (17.27 
vv.)  and  invectives  (20.63  vv.). 

It  is  also  a  significant  fact  that  although  in  Lucan,  Silius 
Italicus,  and  Claudian  the  percentage  of  speech  is  less  than  in 
the  Aeneid,  and  the  speech  is  used  less  frequently,  yet  these 
poets  show  an  increase  in  the  number  of  speeches  over  40  verses 
in  length.  Statius,  on  the  other  hand,  employs  only  about  one- 
half  as  many  such  speeches,  though  the  bulk  of  the  Thebaid  and 
Achilleid  exceeds  that  of  the  Aeneid,  and  the  average  length  of 
the  speech  is  greater  than  in  Vergil,  who,  however,  uses  the 
Bpeech  more  frequently.  Here  again  Valerius  Flaccus  shows 
practically  no  departure  from  Vergil's  custom.1     Of  these  excep- 

1  Tlio  Aeneid  lias  13  such  speeches.     To  Schncidewin's  list  (1.  c,  pp.  133    0 

be  added  the  Following:  in,  613-54;  vi,  756-859  (the  longest  Bpeech  in 

Vergil);   \i,  535-94      No  booi  of  the  Pharsalia  is  without  a  speech   of  at   least 

the  entire  poem  offers   is  instances  (i,  299-351;   n,  68-232  (the 

■h  in   Lur-aii  i,  -J1-J-- 1,  :,:  ;i -'.»:. ;  ii!,307-65j    iv,  476-520,  593-660  ; 

v.  319  64;    vi,  777-820;    vn,  260-329,  342-82;  vm,  262  327,  331    153,  484- 

.    L064   L104 ;  x,  194-381,  353-98).     Of  the  6  speeches  of  this 

type  in  Valeritu  Flaccus,  the  longest  is  Phineus's  prophecy  to  Jason  in  i\. 

624.     Cf.   also   tn,   377-416,    649-89;    tv,    851-421;    v,  471-518;    vn,  35-77. 

Furnishes  7  examples  (Th.  i,  657-672  ;   v,  49   198  (the  longest  Bpeech  in 

the  Roman  epic);    v.,  138  B4;   vn,  294  373;   vm,  34  85;   xn,  546-86 ;  Ach. 

a,  96-167);  Silk  18  (n,  27!  0-74 ;  in,  671-629,  650-712 ;  vi, 

i  i,  in  the  Panics 
which  the  i>""t  bere  a  i  -  to  avoid  a  long  uninterrupted  i  pe<  ch  of  400  odd  <•< 
vn,  437-93  :  vi.  600  ;  mil  86  81,  528  61  I  ; 

of  this 
In  Claudian  are  distributed  as  Follows;  panegyrics  7  m\  Con  .  Hon.  '_' i  I 


10  Aspects  of  the  Speech  in  the  Inter  Roman  Epic. 

tionally  Long  speeches  in  the  later  epic,  the  narrative  type  figures 
most  prominently.1 

The  shortest  speech  in  the  Roman  epic  appears  in  Claudian, 
B.  Goth.  161,  ipse  venit.  No  speech  in  Vergil  is  shorter  than 
Vii,  116,  Ileus!  etiam  mensas'  consumimus.2  Four  words  is  the 
limit  for  Lucan  in  ix,  979,  Herceas  .  .  .  non  respicis  aras?  The 
A.rgonautica  hus  two  speeches  five  words  in  length  in  iv,  674-5 
and  vi,  29.  Summers3  remarks  upon  Valerius  Flaccus's  foud- 
ness  for  speeches  of  not  over  two  or  three  verses.  It  is  found 
that  of  the  188  speeches  in  the  Argonautica,  46,4  or  24  per  cent., 
fall  within  this  limit.  The  shortest  speech  in  Statius  occurs  in 
Th.  x,  393,  Cohibete  gradum  quicumque.5  The  Punica  contains 
a  speech  of  three  words  in  XIII,  137,  adsis  .  .  .  Latonia,  coeptis. 
Of  speeches  one  verse  or  less  in  length,  other  than  those  cited 
above,  are  seven  in  Vergil  (i,  437  ;  n,  322  ;   v,  166  ;  vi, 

620  ispcech  within  speech);  x,  481,  737;  XII,  296),  five  in 
Valerius  Flaccus  (in,  45,  475  ;  IV,  387  (speech  within  speech) ; 
vir,  529;  vin,  467),  seven0  in  Statius  (Th.  I,  465;  n,  535, 
641;  v,  647;  x,  492,  588;  XI,  471),  four7  in  Silius  Italicus 
(II,  258  ;   iv,  59,  98;   XVII,  445),   none  in  Lucan  or  Claudian.8 

352  (the  longest  speech  in  Claudian),  370-418:   vi  Cons.  Hon.  274-319,  361- 
125,    127-93;  Cons.  Stil.  n,  279-339;    Man.  Theod.  276-340);    historical  epics 
•_i  (B.  (Hid.  23-127,  139-200,  236-320,  427-66;  B.  Goth.  269-313);  invectives  3 
(  In  Eutrop.  i.  391-513  ;  n,  112-59,  534-602)  ;   mythological  epics  2  (R.  P.  in, 
.  196-259). 
1  Cf.  Lucan,  n,  68  ff.  ;  iv,  593  ff.  ;  x,  194  ff.  ;  Val.  Fl.  iv,  351  fit.  ;  Stat.  Th.  i, 
557  ff.  ;  v,  4iliL  ;  vn,  294  ff.  ;  Ach.  n,  96  ff.  ;  Sil.  It.  VI,  118  ff.,  29911.,  432  ff.  ; 
vn,  137  ff.  ;  vin,  116  ff.  ;  xi,  440  ff.  ;  xill,  36  ff. 
-  Euhoe  Bacche  (vn,  3S9)  lias  not  been  considered  speech. 
3  Op.  cit.,  p.  61. 
'iv.  387  not  included.     I,  723-4  considered  one  with  the  preceding  speech; 

7-8.     vm,  463  has  been  read  after  v.  440. 
5  The   following  monosyllabic   outcries   have   not   been   regarded   as   speech: 

(Th.  iv.  804,  805);  Mater  (Th.  ix,  350);  Crenaee  (Th.  ix,  356). 
c Th.  x,   111  considered  one  with  the  preceding  speech. 
''  For  the  dispi  ,  645,  cf.  the  above  note. 

To  be  noted  here  are  those  speeches  approaching  this  limit,  though  beginning 
and  ending  within  different  verses.     In  some  cases  they  are  much  shorter  than 
Vergil,    v.   615-6,   637-8    (speech  within   speech);   vi,  45-6; 
Lucan  >v.  399-400;  Val.  Fl.  v,  -212-3;  vi,  373-4  ;  Stat.  Th.  v,  663-4;  XI,  257- 
172-:;;  Sil.  It.  xii,  168-9. 


Aspects  of  the  Speech  in  the  later  Roman  Epic  11 

As  to  the  amount  of  speech  in  the  various  books  of  the 
different  epics.  One  would  expect  the  highest  percentage  to 
indicate  the  greatest  intensity  in  dramatic  interest;  yet  this  is 
not  always  the  case,  for  it  sometimes  happens  that  one  book, 
having  a  few  exceptionally  long  speeches,  ranks  higher  in  the  list 
than  another  in  which  the  speech  occurs  with  greater  frequency, 
and  in  which  there  is  much  more  action.  This  will  be  seen  in 
several  instances  to  be  cited  in  the  following  discussion.  In  the 
Aeneid  the  highest  percentage  of  speech  (54)  is  found  in  book 
VI,  containing  the  scene  in  the  lower  world,  throughout  which 
dialogue  is  freely  employed.  Here,  too,  are  the  long  speeches 
of  103  and  69  verses  by  the  shade  of  Auchises  and  the  Sibyl, 
respectively.  Book  rv  with  4!)  per  cent,  is  next  in  order ;  it  is 
not  surprising  to  find  the  speech  so  freely  used  in  this  highly 
dramatic  portion  of  the  Aeneid.  Vergil's  desire  to  relieve  the 
monotony  in  the  description  of  battles  may  be  seen  from  the  use 
made  of  direct  speech  in  book  x  (31  per  cent.).  In  no  other 
section  of  the  Aeneid  docs  there  appear  so    large  a  number  of 

h  •-.  one  for  every  22  verses;  here  occur  scenes  in  which 
the  gods  figure  (vv.  6-113,  607-32),  addresses  to  the  armies 
(vv.  279-84,  294-8,  369-78),  a  command  to  an  armor-bearer 
(vv.  333-5),  prayers  for  aid  (vv.  421-3,  460-3),  a  combatant's 
OUtery  (v.    !  <1  ),  appeals  of  the  fallen  for  mercy  (vv.  52 -1-9,  597- 

the  victor's  reply  (vv.  531-4),  the  curse  of  the  dying  (vv. 
739-lh,  lamenl  over  the  dead  (vv.  846-56),  a  hero's  address 
to  lii-  3teed  i  vv.  861-6).  Again  in  book  v  (27  per  cent.),  con- 
taining the  accounl  of  the  funeral  games  and  the  departure  of  the 
Trojans  from  Sicily,  is  direct  speech  employed  more  frequently 
than  in  some  other  parts  of  the  poem  where  the  percentage  of 
speech   is  higher.     En  this  book  occur  35  speeches  of  an  ave 

th  of  6.80  verses.  The  lowesl  percentage  of  speech  (24) 
and  the  smallest  number  of  speeches  (17)  are  found  in  book  vu, 
where    more   than    2<>d    verse  iven   up  to  describing  the 

preparations  lor  war  and  to  cataloguing  the  leaders  of  the  Latin 
allied  foi 

The  percentages  of  speech  in  the  various  books  of  the  Pharsalia 
extend  from   18  (ni)  to  52  (n).     The  number  of  long    pi  i 


12  Aspect*  of  I  hi-  Speech  in  the  later  Roman  Epic. 

rather  than  the  frequency  with  which  the  speech  occurs,  accounts 
chiefly  for  the  high  percentages  iu  books  n,  vtei,  and  x;  three 
of  the  twelve  speeches  In  book  n  aggregate  27o  verses;  book 
vi ii,  with  51  per  cent,  speech,  lias  442  verses  of  oratio  recta, 
241  of  which  are  due  to  three  of  the  seventeen  speeches.  The 
average  Length  of  the  four  speeches  in  book  x  (40  per  cent.)  is 
55  verses.  The  lowest  percentage  is  used  in  book  in,  where  the 
average  length  of  the  speech  is  less  than  in  any  other  book. 

In  the  Argonautica  the  highest  percentage  of  speech  (46) 
occurs  in  book  iv,  containing  Hercules's  mission  to  Prometheus 
at  the  command  of  Jupiter,  the  contest  between  Pollux  and 
Amycus,  and  the  long  speeches  of  Orpheus  and  Phineus.  Book 
vn,  with  45  per  cent,  speech,  is  the  crucial  point  of  the  story, 
representing  the  struggle  in  Medea's  mind  and  heart,  and  her 
final  decision  to  aid  Jason.  Book  v  (40  per  cent.)  describes  the 
Argonauts'  arrival  at  Colchis  in  the  midst  of  the  excitement  over 
the  disposition  of  the  fleece,  and  Jason's  meeting  with  Medea  and 
Aeetes.  The  lowest  percentage  of  speech  (15)  is  in  book  vi, 
about  145  verses  of  which  are  devoted  to  a  catalogue  of  the 
forces  of  Aeetes  and  Perses,  after  which  follows  the  description 
of  the  battle. 

In  the  Thebaid  the  fifth  book  has  the  highest  percentage  of 

speech  (74),  owing  to  the  presence  of  Hypsipyle's  long  narrative 

of  450  verses,  though  in  dramatic  interest  it  is  inferior  to  book 

in  (50  per  cent.),  which  contributes  largely  to  the  motivation  of 

the  action  of  the  poem  with  the  prophecy  of  Maeon,  bringing 

news  of  Tydeus's  victory,  the  interference  of  Jupiter  in  sending 

Mars  to  carry  on  the  war,  the  meeting  of  the  Argive  council,  the 

omens   observed  by  the  seers  Melampus  and  Amphiaraus,  and 

Adrastus's    response  to  the   appeal  of  Argia.     A  high  percent- 

of  speech  (48)  is  also  employed  in   book  I,  containing  the 

•  '.tint-  of  Oedipus,  the  Thebans'  murmurs  of  discontent,  the 

meeting  of  Tydeus  and  Polynices,  and  the  beginning  of  their 

ac  [uaintance    with   Adrastus.     Iu    book    xi  (47    per    cent.)  the 

of  the    story  is  reached    in    the    encounter    of   the    two 

brothers,   and   Croon's   assumption  of    power.      The   amount   of 


Aspects  of  the  Speech  in  the  later  Roman   Epic. 


13 


speech  in  book  VII  (42  per  cent.)1  is  appreciably  increased  by  the 
narrative  of  Phorbas,  giving  the  list  of  the  forces  united  under 
Eteocles.  For  Statius's  use  of  direct  discourse  in  books  descrip- 
tive of  fighting,  compare  book  ix,  with  31  per  cent,  speech  and 
29  speeches  of  an  average  length  of  9.96  verses.  In  the  account  of 
the  funeral  games  in  book  vr,  the  lowest  percentage  of  speech  (11) 
is  used.  In  the  Achilleid  80  per  cent,  of  book  n  is  direct  speech, 
33  per  cent,  of  book  i. 

In  the  Puuica,  book  VI  has  the  highest  percentage  of  speech 
(G9).  Of  its  716  verses,  411,  or  57  per  cent.,  are  concerned 
with  Mania's  recital  of  the  events  of  the  first  Punic  war ;  it 
contains  but  11  speeches,  one  for  every  65  verses,  whereas  book 
xiii,  with  a  smaller  percentage  of  speech  (56),  has  40  speeches, 
one  for  every  22  verses.  Here,  in  Scipio's  descent  into  the  lower 
world,  dialogue  plays  an  important  role.2  Book  xiv,  giving  an 
account  of  Marcellus's  campaign  in  Sicily,  lias  the  lowest  percent- 
age (3) ;  its  four  speeches  aggregate  only  18  verses. 

With  the  exception  of  Cons.  Stil.  i,  where  there  is  no  case  of 
direct  discourse,  the  lowest  percentage  of  speech  (4/5)  in  the  four 
departments  of  Claud ian  is  found  in  the  Laus  Serenae,  the  highest 
(75)  in  the  historical  epic  on  the  Gildonic  war. 

The  percentages  of  speech  in  the  different  books  of  the  epics 
and  in  the  invectives  and  panegyrics  of  Claudian  are  given  in  the 
following  tables. 

St  ati  us. 


Vebgil. 


Thebaid. 


VI 

,539 

ii 

.357 

V 

.7  11 

1 1 

3 1  2 

IV 

.191 

IX 

.326 

in 

..Mi:; 

IX 

309 

VIII 

.469 

x 

.312 

! 

.  183 

VIII 

•_'!l!l 

XI 

.1  1  1 

\  ii 

.297 

XI 

.468 

\  II 

297 

r 

.1  10 

V 

.273 

\  II 

.117 

V 

'J  7  2 

in 

.397 

VII 

.•J  15 

IV 

.319 

VI 

1  l<) 

'«'f.   V-n.  vii,  oontainl  '    catalogue ;  cf.  ■>'  o  Val.  PI.  v 

ige  in  book  vi. 


1 1 


Aspects  of  (he  speech  in  the  later  Roman  Epic. 


Lucan. 


11 

.52  I 

i 

.259 

VIII 

..".07 

vir 

.236 

X 

.403 

IV 

.222 

V 

.366 

VI 

.218 

IN 

.316 

in 

.184 

Valerius  Flaccus. 


iv  .465 

vii  .  153 

v  .40] 

viii  .373 


i  .344 
m  .300 

ii  .268 
vi .151 


Achilleid. 
ii  .802  i  .334 

Silius  Italicus. 


vi  .687 

Kill  .558 

xi  .481 

vn  .353 

vm  .317 

m  .317 

xv  .311 

xvi  .309 

xvii  .284 


ii  .267 

ix  .266 

x  .229 

xii  .225 

v  .193 

iv  .183 

i  .182 

xiv  .026 


Historical  epics. 

B.  Gild  .751 
B.  Goth  .223 


Claudia  x. 

Mythological  epics. 


R.  P.  in  .565 
ii  .269 


i  .212 
Giiran  .273 


Invectives. 

In  Ruf.  ii  .315 

i  .307 

In  Eutrop.    i  .306 

ii  .294 


Panegyric*. 


Man.  Thcod.  .376 


VI 

in 


.OJ 

.309 
.118 


Pr.  ct  Ol.  .269 

Cons.  Stil.    ii  .282 

in  .032 

i  .000 

Laus  Screnae  .008 


A  statistical  summary  of  the  use  of  the  speech  in  the  Roman 
epic  follows. 


Aspects  of  the  Speech   in  the  later  Roman  Epic. 


15 


Vergil ' 
Lucan . . 


Tli 



-dlins 

':in — 
Hist.  I 

Myth,  epics.. 

ives... 

Panegyrics... 


1 

2 

3 

4 

Number 
of  verse* 
in  Epic. 

Number 
of  verses 

of 
Speech. 

Per  Cent. 

of 
Speech. 

Number 

of 
Speeches. 

9896 

3757 

38 

331 

8060 

2586 

32 

120 

1911 

34 

1SS 

4037 

37 

2S0 

9741 
1127 

455 

3759 

-  : 
40 
31 

248 

299 

8050 

2403 

30 

102 

117:; 
2029 

539 
419 
619 

46 

::l 
22 

17 
26 

3  1 

Frequency 

of 
Occurrence. 


1  for  30  VV. 


67 
30 
39 
39 
35 
41 

::* 

69 

•is 
68 
125 


Length  of 
Speech. 


1  1.35  w. 

21.55  '• 
10.16  " 
14.42  •• 

u.u   " 

14.22    " 

L2.57  •' 

23.56  '• 

31.71     " 
17.27    " 

27.  to    •• 


7 

S 

Shortest 

Speech. 

Speech. 

L03  w.' 

!  words. 

-1  words. 

72  " 

5  words. 

3  words. 

" 

::  words. 

7'J     " 

::  u  (?). 

176  •' 

:'.  words. 

'J  words. 

100    " 

..i   •■ 

123    " 

- 

Number 
over 
40  vv. 


13 

1 

18 

17 


In  the  custom  of  inserting  one  speech  within  another.1  the  later 
epic  follows  the  example  of  Vergil,  who  employs  .-even  "'  sueh 
speeches  ranging  in  length  from  1  to  42  verses.  There  arc  four6 
in  Lucan  (3  to  11  vv.),  four"  in  Valerius  Flaccus  (1  i>>  i  !  vv.). 
nine8  in  Statins  (2  to  37  vv.),  eleven9  in  Silius  Etalicus  (2  to 
■  ','■',  vv.),  two10  in  Claudian  (2  to  5  vv.).  As  indicative  of  the 
favorite  habitat  of  these  speeches,  it  is  worthy  <•;'  note  that  28 


1  ix,  146-7  and  xn,  801-2,  transpose!  by  Ribbeck,  have  !><  en  read  after  vv.  145 
and  80  Lvely.     In  hooks  n  and  in,  only  i!m<r  speeches  occurring  within 

axrative  ha 
'Parentl  «iona  one  verse  or  more  in  length  have  nol  been  included 

in  reckoning  the  total  number  of  verses  in  tin-  Bpeech. 

:'-  Verses  removed  from  the  text  of  the  Thebaid  and  Achilleid  by  Evohlmann  am! 
Clotz  have  been  re  tored,  with  the  exception  of  th  I    .  vui, 

446.     Th.  iv,  716,  bracketed  by  ECohlmnnn,  has  been  omitted. 
Ennius,  Ann.  46  -6  (  Vahlen.) 

11';  9;  v,  637  3;  vi,  620  ;   vu,  \^\  7;   vin,  I  557 

be  following  quotations  from  an  opponent's  speech  nol  included:  i\,  IK1: 
•  :    '.;.  399,    H'J. 

1   -  ;  rv,  646  9  :  Tin,  ;.; 
•iv,  : ■■  '  d  by  Baehrens. 

•Th.   r.  643  61  :    v,   104-42  tuded  within  th.'  precedii 

::7i   -I.    191-2    all  within  Bypsipyle'i  narrative  j  \.  206  II  ;  m,  I  I 

"in.  676  '.M,  700-12  ;  vi,  242  7.  137   19, 
narrative;  vu.  449-67;  vin,  140  7:  xiu,  62,  7i  7. 

•■  I;.  Goth.  646  7  ;  EL  P.  in,  II   5. 


16  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

(76  per  oent.)of  the  37  cases  cited  occur  within  speeches  40  verses 
or  more  in  length. 

[The  speakers  in  the  Roman  epics  from  Vergil  to  Claudian  are 
confined  to  gods  and  men,1  with  the  possible  exception  of  the 
A.rgonauticaj  i,  302  11'.,  where  the  figure-head  of  the  Argo, 
ooronatae  .  .  .  tutela  carinae,  hewn  from  the  prophetic  oak  of 
Dodona,  speaks  to  Jason  in  a  dream,  ^-i 

fin  Vergil  the  speeches,  as  a  rule, "are  also  addressed  to  either 
gods  or  men,  though  departures  from  this  custom  are  occasionally 
met  with.  In  iv,  651  ff.  Dido  directs  the  opening  words  of  her 
monologue  to  the  Trojan  robes  and  the  familiar  couch .""]/Aeneas 
appeals  to  the  sacred  doves  of  Venus  (vi,  194-6),  arm  Cybele 
urges  the  Trojan  ships  to  leave  the  shores  as  goddesses  of  the  seal 
(ix,  116-7).  Turnus  beseeches  the  winds  in  x,  676  ff.  Mezen- 
tius,  the  "  despiser  of  the  gods,"  invokes  his  right  arm  and  spear 
in  x,  773-4,  Dextra  mihi  deus  et  telum,  quod  missile  libro,  Nunc 
adsiut  !  So  Turnus,  in  the  conflict  with  Aeneas,  relies  upon  his 
spear  for  aid  (xn,  95-100).  The  presence  of  Mezeutius's  speech 
to  his  horse  in  x,  861-6,  Heyne,  h.  1.,  justifies  in  these  words  : 
"  Sed  in  naturae  humanae  indole  hoc  ipsum  videtur  alte  insitum 
esse,  ut  cum  iis  ipsis  animantibus,  quibus  diu  adsuevimus,  tam- 
quam  cum  familiaribus  et  sodalibus  agamus  et  confabulemur.  .  .  . 
Xou  vero  pro  epici  carminis  dignitate  nimis  humile  hoc  videri 
debet  in  equo  bellatore.  In  Mezentio  accommodatum  erat 
commeutum,  quia  mox  equi  vulnere  ipsi  sessori  caedes  paratur." 
In  xii,  872  ff.  a  portion  of  Juturna's  complaint  is  addressed  to 
one  of  the  furies  in  the  form  of  an  owl. 

Of  the  later  epic,  the  speeches  in  the  Pharsalia  are  directed  to 
either  gods  or  men.  Exceptions  to  this  rule  in  the  Argonautica, 
are  those  speeches  to  the  Argo  (iv,  335-6),  the  fire-breathing 
bulls  (vii,  547-8),  and  the  dragon  (vm,  75-8,  95-104).2 
Statins  follows  the  license  of  Homer  and  Vergil  in  the  introduction 
of  Hopleus's  -p<i  i!i  tn  the  horse  of  Tydeus  in  Th.  ix,  211  ff. 

1  The  invectives  ami  panegyrics  of  Claudian  offer  no  exceptions. 

2  The  last  three  instances  are  only  parts  of  speeches.     Note  the  situation  in 
vn,  547. 


Asjiects  of  the  Sjieeeh  in  the  later  Roman  Epic.  17 

Imitation  of  the  Aeneid  appears  again  in  Capaneus's  invocation  of 
his  right  arm  in  Th.  ix,  548-50,  Ades  o  mihi,  dextera,  tantum 
Tn  praesens  bellis  et  inevitabile  nurnen,  Te  voco,  te  solam  superum 
contemptor  adoro.  To  the  serpent  sacred  to  Jupiter,  the  same 
hero  speaks  words  of  scorn  in  Th.  V,  565 ff.  In  the  Punica  there 
occur  three  speeches  addressed  to  horses  (iv,  2G5  ff.  ;  XVI,  389  ff., 
4'2(j  if.)  ;  of  these,  the  last  two  are  in  the  way  of  exhortation 
during-  the  chariot  race.  Other  instances  worthy  of  mention  are 
Hannibal's  exclamation  in  II,  455,  Heu  quantum  Ausonio 
sudabitis,  arma,  cruore  !  and  the  prayers  of  Sabratha  (xiv,  440-1) 
and  Bato  (xiv,  458-9),  addressed  to  the  figure  of  the  protecting 
divinity  of  the  ship.  Compare  also  the  words  of  Scipio's  soldiers 
in  xvu,  129,  Fac  nostrum  hoc,  mea  dextra,  decus.  Noteworthy 
in  Claudian  is  Titan's  command  to  the  golden  years,  rutili  .  .  .  grex 
aureus  anni  (Cons.  Stil.  n,  450).1 

f_The  prominence  of  the  different  characters  in  the  epic  poems  is 
indicated  to  a  certain  extent  by  the  frequency  with  which  they 
appear  as  speakers.2  Of  the  331  speeches  in  the  Aeneid,  for 
example,  70,  or  21  per  cent.,  are  assigned  to  Aeneas,  29  to  Tur- 
nii-.  1»;  to  Anchises,  and  13  to  Dido.  In  the  Pharsalia,  Caesar, 
witli  23  speeches  out  of  120,  is  followed  by  Pompey  (16),  Cato 
(8),  and  Cornelia  (5).  Jason,  in  the  Argonautica,  speaks  more 
often  than    Medea,  who,  however,  does   not  appear  until  after   the 

beginning  "t"  book  v  ;  to  the  former  38  speeches  are  given,  to  the 
latter  24.  In  the  Thebaid,  Statius  naturally  does  doI  assign  so 
large  a  percentage  to  any  one  character.  Tydeus  and  Adrastus 
lead  with  24  and  -I  speeches,8  respectively?]  In  the  two  books  of 
the  Achilleid  25  per  cent.,  represents  the  proportion  allotted  to 
Thetis.     Siliufl   [talicu  to   Bannibal,  th.'  mosl    important 

figure  in   the   Punica,  practically   the  Bame  relative  Dumber  of 
1  ;i-    Vergil   assigns  to   Aeneas;   Bcipio   Africanua 

'  For  tli>'  t_\  pe  ■•:'  spa  ch  addre   ed  i"  cities,  ialandi,  i  tc.,  •  f.  \'.  rgil  in,  J  39  it.  ; 
VaL   Kl.  7,  202  3;  Stat.  Th.  rv,  825  ff. ;    \<h.  r,  884ff. ;  BiL  ft.  m,  688ff. ; 
;.  i:.  I'.  :.  I94fl.  ;  In  Eutrop.  a,  296 ff. 
I  rkin,  op.  cit.,  ; 

•  Th.  i.  :i-  ff.  ;  v,  6  I6ff.  Included. 

'  tv,  198  Iocladed. 


18  Aspects  of  the  Speech  in  the  later  Roman   Epic 

maior  is  nexl  in  order  with  23.     No  satisfactory  comparison  can 
l>i'  made  of  the  four  departments  of  Claudian. 

Through  the  importanl  place  given  to  the  supernatural  as  a 
motivating  force,  the  gods  figure  conspicuously  as  speakers  in  the 
epic.  In  discussing  this  phase  of  Vergil's  art,  Sellar l  says :  "The 
tir-;  geueral  impression  produced  by  reading  the  Aeneid  imnie- 
diately  after  reading-  the  Iliad,  is  that  the  supernatural 
machinery,'  consisting  in  a  great  degree  of  the  agency  of  the 
Olympian  gods  in  hindering  or  furthering  the  catastrophe,  is  the 
most  imitative  and  conventional  element  in  the  poem.  But  a 
closer  examination  of  its  whole  texture  brings  to  light  beneath  the 
more  conspicuous  figures  of  the  Homeric  mythology,  the  presence 
of  other  modes  of  religions  belief,  feeling,  and  practice."  The 
distribution  of  the  speeches  among  the  greater  and  lesser  divinities 
attests  the  truth  of  this  criticismJfor  of  the^H:  speeches  in  the 
Aeneid  assigned  to  supernatural  agents,  49  arc  spoken  by  Juno 
(13),  Venus  (11),  Jupiter  (10),  Apollo  (3),  Iris  (3),  Mercury  (2), 
ile  ['I),  Neptune  (2),  Vulcan  (2),  and  Diana  (1).  Of  the 
inferior  agencies,3  Juturna  (xn,  229  ff.,  625  ff.,  872  ff.)  and 
Faunus  (vu,  96  ff.)  appear  as  representatives  of  the  creations  of 
Italian  mythology,  Alleeto  (vu,  421  ff.,  452  ff.,  545  ff.)  and  the 
Trojan  Penates  (in,  154 ff.)  as  witnesses,  respectively,  to  the 
reverential  fear  with  which  the  invisible  world  was  thought  of. 
ami  to  ill"  widespread  belief  in  the  protecting  divinities  of  each 
home,  city,  and  state.  Other  supernatural  speakers  include  the 
nymphs  Opis  and  Cymodocea,  Somnus,  Aeolus,  Tiberinus,  and 
roll. 
That  the  <^^\<  as  speakers  are  entirely  absent  from  the 
Pharsalia4  is  Lucan's  choice  of  the  alternatives  presented 

to  him   in   writing  an   historical  epic  on   recent  events:  "  Histo- 
.  welche  der  Gegenwart  so  nahe  liegen,  vertragen 
nu."    3chwer  eine  poetische    Behandlung,  entweder   halt   sich  die 
i1    "Stellung  an  die  Geschichte,  dann   kommt  nicht  viel  mehr  als 

Poets  of  the  Augustan  Age — Virgil,  3d  ed.,  p.  3(55. 
within  speeches  nut  included. 
sf  ;  .  .11..  pp.  367  ff. 

«-y  W   <*        *  n.  - 1  ;T.,  speech  within  speech,  can  hardly  be  regarded  as  an  exception. 
*    0 


afc. 


Aspects  of  the  Speech  in  the  later  Eojnan  Epic.  19 

eine  versifizierte  Chronik  heraus  ;  oder  sie  beschreitct  das  Reich 
der  Phantasie,  dann  geriit   sie   iu  Widerspruch   mit  dem  histo- 
rischen  Bewusstsein   der  Zeit.     Nur   wenn    der   Dichter   in  die 
dammernde   Welt   der   Sage    sieli    versenkt,  1st   sein    Geist    fur 
poetisches  Schaffen  frei.     Lucan  bewegt  sich  auf  dem  historischen 
Boden,  gibt  also  eine  in  Versen   gebrachte    Geschichte,  er  ver- 
schmaht  sogar  den  herkommlichen  mythologischen  Apparal  ;  das 
Fatum  1st  das  Lenkende  nnd  Bestimmende."  '     In  this  manner 
v,as  also  solved  the  delicate  question  as  to  how  the  gods  could  aid 
cither  "  Caesar  the  freethinker  or  Pompey  the  proved  failure."  - 
In  the  other  epics  of  the  Silver  Age,  however,  one  finds  a  return 
to  the  conventional  use  of  the  supernatural.     It  has  been  observed 
that  64  of  the  speeches  in  the  Aeneid  (19  per  cent.)  are  given  to 
mythological  characters,  a  proportion  very  nearly  equaled  by  the 
Argonautica  with  35  speeches  from  a  total  of  188.     Statins  (in 
the  Thebaid) 3  and  Silius  Italicus  allot  to  supernatural   agents   11 
and  44  speeches,  respectively,  15  per  cent,  of  the  whole  in  each 
case.     To   the   greater   deities   31    speeches  are  assigned  in  the 
Argonautica,  29  in  the  Thebaid,  31  in  the  Punica.     The  distribu- 
tion of  these  speeches  in  the  three  epics  may    be    indicated  as 
follows:    Jupiter4  5,   8,   10;    Juno  9,  3,   11  ;    Venus    7,    2,  3; 
Minerva  4,  1,  2  ;   Apollo5  2,  3,  1  ;  Diana  0,  3,  0;  Mars  2,  3,  1  : 
Mercury  0,  0,  2;    Iris  0,  1,  0;   Neptune  2,  0,  0  ;    Bacchus  0,  1. 
1;  Pluto  (>,  1,  0.     As  types  of  the  inferior  deities  as  speakers, 
one  may    cite  Fama,  Hecate,  Boreas,  and   I  idle  from   Valerius 
Flaccus;  Hercules,  Virtus,  [smenos,  and  Tisiphone  from  Statius; 
Fides,  Anna,    Proteus,  Cymodoce,   and    the    god    of    the    river 
Trebia  from  Silius  [talicus.     One  of  the  mosl  striking  features  of 
the  poems  of  Claudian,  the   lasl    representative  of  the  ola 
world,  \.~  the  prominence  of  the  rdle  given  t<>  mythological  figures, 
who  deliver  in,  or  •':!»  per  cent,  of  the  102  sp<  i  che    in  the  four  de- 

l8chanz,  Romische  Litteratur,  2*,  2.  aufl.,  p.  : 

2  Heitland,  I.  < •..  p. 

:i  In  the  Achilleid  8]  ee  I  n  to  rapernatun  : 

8,   N.plunc  1,  '  hinm  I. 

''I'll,  v,  oil  and  Pan.  \\  36611.  included. 

I.  I' I.  i,  505fl.,  Bol  to  Jupiter,  included  here. 


20  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

partments  considered.1  In  17  other  instances  personified  rivers 
and  localities  Bpeak,  such  as  Tiberinus,  Africa,  Delos,  and  Henna. 
The  goddess  Rome  has  .-even  of  these  speeches.  In  this  connec- 
tion tin-  comment  of  Glover2  is  worthy  of  note:  "In  the  poetry 
of  Claudian  we  find  two  aoble  conceptions,  overlaid  and  marred, 
it  is  true,  in  some  measure  by  uninspired  work,  by  rhetoric  and 
adulation,  yet  noble  still — the  eternal  grandeur  of  Rome  and  the 
beauty  and  sufficiency  of  the  old  religion." 

It  has  been  noted  above  that  the  proportion  of  direct  speech 
in  the  Aeiieid  is  much  less  than  in  Homer,  and  that  the  later  epic 
shows  a  still  further  decline.  In  investigating  the  causes  of  this 
decrease  in  Vergil  and  his  successors,  one  would  expect  to  discover 
as  a  contributing  factor  the  presence  of  oratio  obliqua,  due  both 
to  the  Roman's  habit  of  thought 3  and  to  the  influence  of  the 
historians,  by  whom  this  mode  of  expression  was  so  generally 
used.4  An  examination  of  Vergil  and  the  later  epic,  however, 
shows  that  little  of  the  difference  can  be  attributed  to  this  source. 
It  is  estimated  that  the  Aeneid  contains  not  over  140  verses  of 
such  material,  which,  if  converted  into  oratio  recta,  would  increase 
the  amount  of  speech  in  the  poem  only  about  one  and  one-half 
per  cent.  The  longest  of  the  passages  occurs  in  vin,  10-7, 
giving  the  substance  of  the  message  sent  by  the  Latins  to 
Diomedes.  In  xi,  227-30  the  result  of  this  mission  is  indicated 
by  the  few  verses  of  indirect  discourse  representing  Diomedes's 
response,  which,  however,  is  given  in  full  by  Venulus  in  vv. 
•_!-")L!  ff.,  when  he  appears  before  the  assembled  council.  Among 
the  other  instances  in  which  oratio  recta  might  have  been  em- 
ployed, an-  :  i,  742-6,  Iopas's  song  at  the  banquet  in  Carthage; 
iv,  289—94,  Aeneas's  Bpeech  to  his  companions  after  receiving  the 
warning  from   .Mcnairy;   vn,  380-91,  Amata's  song  to  Bacchus. 

1  The  number  assigned  to  each  is  as  follows:  Ceres  8;  Jupiter  4;  Diana, 
Cybele,  Ma  |  ina,  ami  Pluto  -  each  ;  Venus,  Minerva,  and  Titan  1  each  ; 

ra  '■'< ;  Justice  2  :   Rhadamanthus,  Lachesis,  Allecto,  Bellona,  Terra,  Aurora, 
i        is    I .  ■  ■         a  naiad,  and  Fa  Lias,  the  giant,  1  each. 
"Lin      id  I.  tters  in  the  Fourth  Century,  p.  236. 

Gildereleeve-Lodge,  Latin  Grammar,  3d  ed.,  649,  n.  1 ;  Elderkin,  op.  eit. 
p.  31. 

-  inual/,  Lateinische  (irammatik,  3.  aufl.,  p.  298. 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  21 

An  excellent  opportunity  for  the  introduction  of  a  collective 
speech  is  offered  in  n,  229-33,  containing  the  sentiments  of  the 
Trojans  in  regard  to  Laocoon  and  the  horse.  Vergil's  choice  of 
the  indirect  form  in  giving  the  invitation  to  the  contests  in  v, 
291-2  and  485-6,  has  been  noted  by  Heinze.1  Worthy  of 
remark  is  the  use  of  the  well-known  form  of  conclusion,  Haec 
ubi  dicta  dedit,  after  the  passage  of  oratio  obliqua  in  vn,  4(58-70. 
With  the  exception  of  Silius  Italicus,  the  later  epic  is  even  L<  sa 
fruitful  in  material  for  speech  than  Vergil.  The  Pharsalia  shows 
only  a  few  examples,  such  as  the  inquiry  of  Pompey  in  yiii, 
167—70,  the  advice  of  his  followers  in  vi,  317—9,  and  their 
complaints  in  VII,  52-5.  Opportunities  for  speech  are  more  fre- 
quently presented  in  the  Argonautica  with  75  odd  verses  of 
oratio  obliqua.  In  vni,  387-99  thirteen  verses  are  concerned 
with  the  Argonauts'  protest  against  the  presence  of  Medea,  the 
cause  of  the  many  perils  to  which  they  were  exposed.  The 
details  of  Hercules's  encounter  with  the  Amazons  are  related 
indirectly  in  v,  132-9.  Again,  in  VI,  17-26,  the  poet  might 
have  reported  the  exact  words  of  Perses's  message  to  Jason, 
warning  him  against  the  treachery  of  Aeetes.  The  Thebaid, 
though  much  longer  than  the  Argonautica,  contains  only  about 
65  verses  of  speech-material.  As  typical  examples  of  Statius's 
use  of  oratio  obliqua,  may  be  cited  Apollo's  song  to  the  Musi  - 
(vj,  360-4),  the  Argives'  appeal  to  Adrastus  (vi,  924-8),  and 
the  messenger's  announcement  of  the  arrival  of  the  enemy  (vn, 
227-31J.  The  influence  of  Vergil  is  seen  in  the  form  of  the 
invitation  to  the  discus-throw  in  vi,  646-7.  Only  in  the 
of  the  boxing-match  (vi,  729-30)  is  direci  speech  used  in  sum- 
moning the  contestants;  here  again  the  example  of  the  Aeneid 
(v,  363-4)  is  followed.  The  best  instance  of  oratio  obliqua  in 
the  Achilleid  occurs  in  i,  475-81,  setting  forth  the  Greeks'  desire 
lor  the  return   of  Achilles,  a   ;  concluded  by  the  word  . 

Ilaee   Graiae  castris   iteranl   traduntque   oohortes.     Tl gh   the 

poem   of  Silius  Italieu-  i-  hut  a   versified  history  of  the  Punic 
war,  largely  dependent   upon  the  account   of  Livy,  it   yields  do 

'Op.  <'ii.,  pp.    in  I    '1. 


22  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

great  amount  of  oratio  obliqua;  its  200  odd  verses,  however, 
represent  a  Blight  increase  over  the  other  Roman  epics.  In  one 
case  (xi,  135—54)  the  indirect  speech  continues  for  as  many  as 
•JO  verses — the  limit  for  the  Punica.  A  comparison  of  several 
ges  in  Silius  and  Livy,  noted  by  Lemaire,1  shows  the  prob- 
able  influence  of  the  historian  in  this  connection;  for  instance, 
each  uses  indirect  discourse  in  expressing  the  fear  of  the  Romans 
at  the  approach  of  Hasdrubal  and  their  lack  of  confidence  in 
Nero's  ability  to  cope  with  the  enemy  (Sil.  It.  xv,  516-21, 
578-87  ;  Livy,  xxvn,  40,  44).  Compare  also  the  thoughts  of 
Hasdrubal  and  the  words  of  the  oracle  as  given  by  Silius  (xv, 
607-10;  xvii,  1-7)  and  Livy  (XXVII,  47  ;  xxix,  10,  11).  On 
the  other  hand,  the  poet,  in  ix,  246-8,  expresses  in  a  few  verses  of 
oratio  obliqua  the  main  thought  in  the  long  oration  of  Hannibal 
which  Livy  introduces  as  direct  speech  in  xxi,  43.  In  like 
manner  the  form  of  an  extract  from  the  latter  part  of  Marcellus's 
speech  in  Livy,  xxiv,  38,  is  changed  in  Sil.  It.  xiv,  294-7. 
Note  Silius's  use  of  the  verb  of  saying  with  oratio  obliqua,  either 
parenthetically,  as  in  n,  18,  clamat,  and  xv,  516,  iactant,  or  as  a 
form  of  conclusion,  as  in  xi,  155,  Talia  iactantes  ;  XVII,  118, 
Iactarat  talia,  182,  Haec  postquam  dicta.  The  familiar  expres- 
sion, sub  corde  volutat,  introduces  the  sentiments  of  the  Roman 
youth  in  xn,  556-7.  The  scattered  bits  of  indirect  discourse  in 
Claudian  aggregate  about  55  verses,  including  the  various  rumors 
reported  in  In  Eutrop.  EC,  463-73.  For  other  opportunities  for 
speech  in  this-  invective,  compare  vv.  307-9,  359-64,  365-9. 
.Material  for  monologue  is  found  in  VI  Cons.  Hon.  148-51. 
Note  the  forms  of  introduction  and  conclusion  here :  ingentes 
pectore  curas  Volvebat  (vv.  147-8) ;  Talia  dum  secum  movet 
anxius  (v.  152). 

In  all  the  epic  poets,  with  the  exception  of  Lucan,  there  occurs 
it  least  "lire  instance  of  a  change  from  indirect  to  direct  speech, 
a-  exemplified  by  the  inquiries  of  Dido  in  Aen.  i,  750  if.,  and  the 
song  of  the  Salii  in  vm,  288 ff.,  where  Vergil,  after  stating  the 
argument  of    the    hymn,   introduces    its    exact    words.2     As    an 

1  Ed.  Sil.  It.  2  Cf.  Forbiger's  note  on  v.  293. 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  23 

illustration  from  the  later  epic,  may  be  cited  Hercules's  protest 
against  the  delay  at  Lemnos  in  the  Argonautica,  n,  375  ff. 
Compare  also  Stat.  Th.  vi,  316  ff.;  xi,  462  ff. ;  Sil.  It.  xu, 
668  ff.  ;  Claud.  R.  P.  in,  33  ff.,  within  Jupiter's  speech  to 
the  gods. 

A    more  significant  cause  of  the  limitation  of  the  speech  iu 
Vergil,  as  compared  with  Homer,  is  the  desire  of  the  Roman 
poet  not  only  to  avoid  the  superfluous  and  whatever  contributes 
nothing    to   the   movement    of  the  narrative,    but  also    to    leave 
room  for  the  exercise  of  the  reader's  imagination.1     Among  the 
indications  of  this  phase  of  Vergil's  art  Heinze  cites  the  restricted 
use  of  the  speech  in  messenger-scenes,  a  tendency  apparent  in  the 
later  Roman  epic  as  avcII  as  in  Apollonius  and  Quintus.2     The 
Pharsalia  offers  but  little  by  way  of  illustration  owing  to  the 
absence    of  divine    agency.     In    the    Argonautica,    one   finds    a 
message  repeated  in  oratio  recta  in  only  one  instance.     Venus,  in 
ii,   131-2,  gives   to    Fama  the    report  which    she  is  to   spread 
among   the    Lcmniaii   women  ;    the   goddess,  with    the  voice  of 
Neaera,  speaks  at  length  to  Eurynome  in  vv.  142-60,  amplifying 
the  words  of  Venus.     Repetition3  is  avoided  in  iv,  78-81,  where 
a  Bimple  statement  indicates  that  Iris  delivered  to   Bercules  the 
command    which  she  had   received  from  Jupiter.     In  IV,  38 
one  first  Karns  that  Jupiter  had  given    instructions   to  Mercury 
through   the  words,   [mperiumque  patris  celerans  Cyllenius  ales 
Advenit.     In  v,  546-7  Jason,  after  his  reply  to  Aeetes,  sends 
I        ir  to  bear  the  kin-'-  response  to  the  Argonauts,  Turn  Castora 
mil  tit,  Qui  ferat  Acaei  sociis  responsa  tyranni.     The  message  is 
delivered  in  oratio  recta  in  w.  553 ff.     Often  messenger-scenes 
are  entirely  devoid  of  speech.     So  iu  vii,  L86  7  it  is  stated  thai 
Juno  ordered   Iris   to  bring  Jasoo  t<>  the   grove  mentioned   by 
Venus j    -lie    immediately   Beeka    ill"    Argonauts    (v.    L89)   and 
returns  to  the  heaven-  after  performing  the   task  (w.  39 

i<  f.  II,  in/,.,  op.  rit.,  pp.  39£  '■'.  I  I  Blderkin,  op.  cit,  pp.  8 

Juno    ends  Minerva  with  :i  charge  i"  Pel  ■■•  in  hi,  501-5.     After  \ 

.   ora  .  nothing  farther  is  heard  "f  thi  i    the  real  object  "f 

which,  as  stated  in  w.  48S  move  Minerva  from  the  scene.    Cf.  Lemaire, 

i,  p,  243,  ii- . t ■  -  on  v.  .".ol. 


24  Aspects  of  the  Speech  in  the  later  Roman   Epic. 

Througb  the  two  verses  of  oratio  obliqua  in  vn,  544-5  it  appears 
that  Jason  bad  commanded  Echion  to  inform  Aeetes  of  his 
readiness  to  meet  the  brazen-footed  bulls.  Perses's  message  to 
Jason  in  vi.  17  if.,  as  noted  in  another  connection,  is  given  in 
the  indirect  form;  its  deliverance  is  prevented  by  the  sudden 
appearance  of  Mars,  bringing  on  the  conflict.  In  I,  91-9 
Minerva  and  Juno  accomplish  their  purposes  without  the  aid  of 
messengers. 

Statins  shows  the  same  tendency  to  restrict  the  use  of  direct 
speech  iu  such  scenes,  though  once1  repetition  of  a  command  in 
oratio  recta  is  allowed.  In  Th.  I,  292-302  Jupiter  sends  Mer- 
cury to  communicate  to  the  shade  of  Laius  the  command  to  be 
delivered  to  Eteocles;  in  n,  2  (Iussa  .  .  .  gerens  remeat)  and 
7  (succedit  Laius)  we  learn  that  Mercury  discharged  this  duty 
and  returned  from  the  lower  world,  accompanied  by  the  shade  of 
the  Theban,  who,  in  vv.  1 1 6-9,  urges  Eteocles  to  hold  the  king- 
dom against  his  brother.  Elsewhere  Statius  avoids  a  second 
speech.  The  message  which  Jupiter  entrusts  to  Mercury  in  vn, 
6-30  is  not  delivered  to  Mars  in  the  direct  form.  In  verse  81 
one  finds  the  simple  statement,  Ille  refert  consulta  patris.  In  x, 
79ff.  Juno,  determined  to  destroy  the  Theban s  when  overcome 
with  sleep,  makes  use  of  the  services  of  Iris:  Orbibus  accingi 
solitis  iubet  Irim  ct  omne  Mandat  opus  (vv.  81—2).  The  mes- 
senger's speech  to  Somnus  is  given  directly  in  vv.  126-31. 
Again,  in  xn,  683-6,  Phegeus  might  have  spoken  in  the  direct 
form  in  announcing  Theseus's  ultimatum  as  expressed  in  v.  598. 
There  is  no  indication  of  the  deliverance  of  the  messages  of 
Parthenopaeus  (rx,  891  ff.),  and  Amphion  (x,  499  ff.),  the  latter 
case  affordiug  an  opportunity  for  speech. 

An  investigation  of  the  messenger-scenes  in  Silius  Italicus 
discloses  an  exceptional  instance  of  a  double  repetition,  which 
Si  ins  carefully  avoided  in  the  mission  of  the  shade  of  Laius  to 
I.  icles.  In  vin,  30-8  Juno  sends  the  nymph  Anna  to  revive 
tli'-  .-pints  of  Hannibal  and  to  urge  him  to  hasten  into  Apulia. 

'Though  Maeon  addresses  Eteocles  directly  in  in,  59  3.,  Tydeus's  words  in  n, 
699-703  are  not  repeated. 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  25 

In  vv.  211-24  she  addresses  the  Carthaginian  leader,  who,  in 
turn,  repeat?  to  his  soldiers  the  essential  part  of  the  message 
(vv.  233-41).  Other  messenger-scenes1  in  the  Punica  are  much 
briefer.  So  from  in,  168-9,  Cyllenius  .  .  .  portabat  iussa 
parentis,  one  learns  that  Jupiter  had  despatched  Mercury  ;  in 
vv.  172-82  the  messenger  speaks  to  Hannibal  in  the  direct 
form,  disclosing  the  object  of  his  mission.  That  Iris  conveyed 
Jupiter's  message  to  Minerva,  given  in  ix,  473-8,  is  indicated 
by  v.  479,  Quae  postquam  accepit  dubitans  Tritonia  virgo.  In 
book  x,  vv.  291-2,  state  that  Lentulus  bore  to  Rome  the  com- 
mands which  he  had  received  from  Paulus  in  vv.  280—2.  In 
ix.  551—6  Iris,  sent  by  Jupiter,  calls  Mars  from  the  field  of 
battle,  though  direct  speech  is  used  in  neither  case.  We  know  that 
the  command  was  delivered  from  v.  553,  Nee  vetitis  luctatus  abit 
Gradivus.  Opportunities  for  speech  are  offered  again  in  xi, 
204-9,  where  we  are  told  that  Hannibal's  summons  to  Decius 
is  treated  with  contempt.  In  this  connection  may  be  o 
the  limitation  of  direct  speech  in  those  scenes  in  the  Punica 
descriptive  of  political  embassies.  Exceptional  is  Saguntum's 
appeal  to  Koine  in  book  i;  here,  in  vv.  634-71,  tin'  ambassador 
Sicoris,  carrying  out  the  instructions  given  in  oratio  recta  in 
vv.  568—73,  pleads  before  the  Roman  senate.  With  this  mission 
contrast  that  of  Bostar  in  book  in.  Verses  6-13  state  thai  he 
-.•ni  to  consult  the  oracle  of  Jupiter  Hammon  ;  of  the  resull 
of  this  journey  one  is  first  informed  through  the  envoy's  ; 
to  Hannibal  in  vv.  650-712,  within  which  the  response  of  the 
oracle  is  reported.  Often  such  scenes  are  without  direct  speech. 
In  i,  691—4  the  Romans  -cud  ambassadors  to  Hannibal,  who, 
in  n,  LI— 22,  scorns  their  demands — all  expressed  through  oratio 

'The  Punica  contains  an  inter  mand  carried  oul  by  i 

of  :t ii  inscription.     In  i\,  138  9  S:iiricu>,  in  addressing  I  ■'  tl"' 

Lmpetnons  Varro  be  prevented  from  joining  battle  «iil<  Hannibal.     In  v.  178 

the  dying  Solimos  writes  in  bl 1  upon  bis  shield  the  words,  I  I  '  ■  i    PRO!  I  I  \ 

VARRO.    Thi  i    borne  to  the  leader  In  v.  261,  pendunl  .  .  .  anna 

vetantia  pngnam. 

For  other  instances  "f   inscriptions  in  1 1 » « -  Soman  epic,  cf .  BiL  It.   vr,   192; 
V(  rg.  m,   :     :  Luc.  n,  848-4  ;  \m.  798  :  Claud,  B.  Goth.  64 


i2 1>  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

obliqua.  In  iv,  808,  His  avide  dictis,  Hannibal  is  informed 
oi'  the  Carthaginians'  decision  (vv.  80-1-5)  in  regard  to  the  fate 
of  his  son.  In  xi,  64  the  Capuans,  following  the  advice  of 
Paouvius,  given  in  oratio  obliqua  in  vv.  59-63,  despatch  envoys 
to  Rome;  Yirriiis  delivers  the  message  in  vv.  68-9,  tota  profudit 
Consults  et  tumidis  incendit  vocibus  aures;  in  vv.  120-1,  129- 
30  we  learn  that  the  reply  of  the  Roman  senate  was  com- 
municated to  the  Capuans.  In  the  indirect  form  are  given  the 
Carthaginians'  message  to  Hannibal  in  XVII,  156-7,  and  the 
speech  of  the  ambassadors  in  vv.  172-81. 

In  only  one  of  the  three  messenger-scenes  in  Claudian's 
mythological  epics  is  direct  speech  employed.  Pluto  summons 
Mercury  in  R.  P.  I,  76-7,  Tunc  Maia  genitum  .  .  .  Imperat 
acciri.  CyUenius  adstitit  ales.  In  the  direct  form  (vv.  93-116) 
he  gives  the  command1  which  the  messenger  makes  known  to 
Jupiter,  as  stated  in  v.  118,  Audierat  mandata  Pater.  From 
vv.  278—9,  Iamque  viam  Pluto  supcras  molitur  ad  auras  Ger- 
maui  monitu,  one  assumes  that  Mercury  returned  with  a  reply. 
In  R.  P.  in,  1  if.  and  Gigan.  42 ff.  Iris,  in  summoning  the  gods, 
appears  as  Jupiter's2  messenger;  these  scenes  are  without  speech. 
[A  further  element  affecting  the  shrinkage  in  the  amount  of 
speech  in  Vergil  as  compared  with  Homer  is  the  tendency,  noted 
by  Heinze,3  to  confine  the  speech-scenes  within  narrower  bounds, 
that  is,  to  restrict  the  length  of  the  dialogue  and  to  limit  the 
number  of  speakers  appearing  in  a  given  scene.  The  conserva- 
tism of  the  later  epic  in  this  respect  is  even  more  noticeable.      In 

1  Note  the  manner  in  which  the  poet  here  avoids  a  long  passage  of  oratio 
obliqua;  Plato  addresses  Jupiter  as  if  he  were  present  :  Kedde  Iovi :  Tantumne 
Line  frater,  In  me  iuris  erit?  etc.  For  other  messages  in  this  form, 
cf.  Vergil,  xi,  177-81  ;  Luc.  vm,  218-38  ;  ix,  87-97  ;  Val.  EL  H,  601-7  ;  Stat. 
Tli.  ix,  891-907.  The  two  forms  are  combined  in  Sil.  It.  ix,  474-8:  die,  Pallas 
mitiget  iras  Xec  speret  fixas  Parcarum  vertere  leges  ;  Die  etiam  :  ni  desistis,  etc. 

-  It  is  worthy  of  remark  that  in  Vergil  and  the  later  epic,  Iris  serves  Jupiter  in 
mx  instances  |  Vergil,  ix,  803  ;  Val.  Fl.  iv,  77  ;  Sil.  It.  ix,  471,  551  ;  Claud.  E. 
P.  in,  1  ;  Gigan.  42),  while  she  appears  as  Juno's  agent  in  but  four  (Vergil,  v, 
606  ;  ix,  2  (iv,  694  not  included);  Val.  Fl.  vn,  186  ;  Stat.  Th.  x,  81). 

"Op,  lit.,  pp.  397-8.  To  the  two  instances  of  Vergil's  use  of  the  dialogue  of 
more   than    Mm-  -.   cited  at  this   place,  add    the   conversation    between 

Jnpiterand  Juno  in  x,  607  ff. 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  27 

regard  to  Lucan,  Basore,  1.  c,  has  recorded  the  fact  that  in  only 
two  instances  is  simple  address  and  reply  exceeded,  and  only  once 
do  as  many  as  three  speakers  appear  in  a  given  scene.  Like 
restrictions  are  placed  upon  the  use  of  coupled  dialoguesTas  may 
be  seen  from  vin,  72  ff.,  where  Pompey,  after  speaking  with 
Cornelia,  replies  to  the  requests  of  the  Mitylenians. 

In  this  limitation  of  the  dialogue  Claudian  shows  a  near 
approach  to  the  practice  of  Lucan,  allowing  the  first  speaker  to 
reply  in  but  four  instances  (B.  Gild.  230  ff. ;  In  Ruf.  n,  206  ff.  ; 
iv  Cons.  Hon.  214  ft'.;  Pr.  et  01.  126  ff.),  while  only  twice  are 
more  than  two  speakers  grouped:  in  B.  Gild.  28  ff.  Jupiter 
responds  to  the  complaints  of  Borne  and  Africa,  and  in  ( 
Stil.  ii,  231  ff.  Spain,  Gaul,  Brittany,  Africa,  and  Oenotria 
implore  Rome  to  urge  that  Stilicho  accept  the  consulship. 

In  the  Argonautica  dialogue  plays  a  more  important  part.  In 
four  instances  the  first  speaker  replies  (iv,  145  ff.,  436  if.  ;  v, 
282  ff.,  471  ff.).  This  limit  is  exceeded,  however,  in  only  three 
cases.  In  v,  578  ff.  Aeetes  twice  answers  the  questions  of  Jason, 
adding  a  third  speech  in  vv.  596  ff.  Medea  and  Venus  together 
are  given  four  speeches  in  VII,  217  11".  In  the  long  scene  in 
which  Jason  and  Medea  figure  in  book  vn,  a  dialogue  of  live 
speeches  begins  with  v.  477.  Rarely  are  more  than  two  speakers 
grouped.  In  i,  211  ff.,  after  the  prophecies  of  the  augurs 
Mopsus  and  Idmon,  Jason  encourages  his  companions;  in  III, 
61711".  Jason,  Meleager,  and  Telamon  speak  in  the  council  of  the 
Argonauts;    in  v,  <>2  1  ff.  Jupiter  ailences   the  dispute  between 

-  and  .Minerva. 

In  do  case  in  Statius  is  the  dialogue  carried  to  the  extent  of 
six  3peeches,aa  in  the  scene  between  Aeneas  and  Venus  in  Vergil, 
i,  321-409.  The  Thebaic!  and  Achilleid  sho^  Beven  instance*  is 
which  the  firsl  speaker  replies  (Th.  i,  21  !  ff.,  557  ff.;  u,  393  ff.; 
m,  607ff.;  x,423ff.;  Ach.  [,775ff.j  [i,32ff.).  As  many  as 
four  speeches  are  found  only  in  the  scenes  between  Manto  and 
Tired,-,-  (Th.  iv,  518ff.),  Adraatusand  Hypeipyle  (Th,  v,  20ff.), 
Antigone  and  Phorbae  (Th.  vn.  247 ff.),  and  Antigone  and 
Argia  (Th.  xn,  366  ff.).  Statiut  assembles  the  largesl  number 
,,t   speakers  in  Th.  xi,  242ff.     After  Aepytus's  announcement  of 


28  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

Polynices's  threat,  there  follow  four  short  speeches  aggregating 
about  five  verses,  In  which  various  members  of  the  king's  retinue 
advise  that  he  scorn  the  challenge  ;  then  Creon  taunts  the  king 
for  his  hesitation,  ami  the  scene  closes  with  an  animated  reply 
from  Eteocles.  Again,  in  the  scene  descriptive  of  the  Argives' 
protest  against  Lycurgus's  threat  upon  the  life  of  Hypsipyle 
in  Th.  V,  660  IV.,  first  Tydeus  speaks,  then  Adrastus  and 
Amphiaraus  together,  then  Tydeus  again,  and  finally  Lycurgus. 
Adrastus,  Tydeus,  and  Polynices  appear  as  speakers  in  Th.  I, 
438  IV.  :  '  II,  152  IV.  ;  nr,  348  ff.  With  these  instances  compare 
Th.  vi,  816  IV.,  where  Capaneus  replies  to  the  remonstrances  of 
Tydeus  and  Hippomedon.  In  Ach.  I,  496  ff.  Protesilaus  speaks 
with  Calchas  and  Diomedes  with  Ulysses.  In  the  matter  of 
coupled  dialogues  Statius's  usage  is  confined  within  even  narrower 
limits  than  that  of  Vergil.  In  Th.  XI,  669  ff.  Oedipus  responds 
to  Creon,  who  speaks  again  after  Antigone's  plea  for  mercy ;  in 
Ach.  i,  712  ff.  Ulysses,  after  answering  Diomedes,  converses  with 
Lycomedes ;  in  Ach.  n,  32  ff.  Ulysses  and  Achilles  are  given  a 
dialogue  of  three  speeches,  after  which  the  latter  replies  to  the 
request  of  Diomedes. 

With  the  exception  of  the  scene  between  Marus  and  Serranus 
(vi,  102  ff.),  in  which  the  outcries  of  Begulus's  son  (vv.  296  ff., 
416  ff.),  serve  to  break  up  the  long  narrative  of  the  old  armor- 
It  arer,  the  dialogue  in  Silius  Italicus  is  limited  to  three  speeches, 
of  which  type  there  are  nine  instances  in  the  poem  (in,  69  ff.,  VII, 
426  ff.  ;  vm,  81  ff.  ;  ix,  111  ff.  ;2  xm,  450  ff.,  497  ff.,  781  ff., 
IV.;3  xvii,  344  ff.).  In  the  Punica,  as  in  the  Aeneid,  the 
ings  of  councils  afford  favorable  opportunities  for  the  intro- 
duction of  several  speakers.  So  in  ix,  527  ff.  Minerva,  Juno, 
and  Jupiter  discuss  the  fate  of  Hannibal,  and  in  XI,  73-109 
Torquatus,  Fabius,  and  Marcellus  express  their  views  in  regard 
to  Capua'e  demand.     Again,  in  xi,  502  ff.,  Mago,  Hannon,  and 

'Here    Adrastus  is  given   a   second   speech   after   the  replies  of  Tydeus  and 
Polyni 

H(  re  Batricos  speakf  twice  before  Solimus's  reply. 

ipio'a  question  in  the  indirect  form  in  v.   832  Silius  avoids  a 
gue  of  five 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  "J.v 

representatives  of  the  Barcine  faction  speak  in  the  Carthaginian 
senate.  Elsewhere  three  speakers  are  grouped  but  twice : l 
compare  the  prophecy-scene  in  I,  10(3  ff.,  in  which  Hamilcar, 
Hannibal,  and  the  priestess  figure,  and  Scipio's  conference  with 
the  shades  of  his  father  and  uncle  in  xiii,  654  ff.2 

That  this  restriction  of  the  dialogue  is  conscious  in  the  later 
epic,  as  in  Vergil,3  is  clearly  shown  by  the  employment  of  various 
means  to  bring  the  speech-scenes  within  certain  limits.  Inter- 
ruption of  the  dialogue  is  sometimes  allowed,  as  in  the  Argonau- 
tica,  v,  670  if.,  where  Jupiter  prevents  a  continuation  of  the 
controversy  between  Mars  and  Juno;  or  in  the  Thebaid,  in, 
669  ff.,  where  the  shouts  of  the  crowd  and  the  intervention  of 
night  bring  to  an  end  the  discussion  between  Capaneus  and 
Amphiaraus.  Again,  in  Th.  XII,  404  ff.,  Menoetes  forestalls 
Antigone  about  to  speak  for  the  third  time  in  the  dialogue  with 
Argia.  In  book  xin  of  the  Punica  the  shades  of  Pomponia 
(v.  648),  Hamilcar  (vv.  750-1),  and  Alexander  (v.  776)  depart 
immediately  after  replying  to  Scipio. 

PA  further  indication  of  the  desire  to  reduce  the  length  of 
speech-scenes  appears  in  the  form  in  which  questions  arc  often 
given.4  Through  the  use  of  oratio  obliqua  Pompey's  conference 
with  the  pilot  is  limited  to  simple  address  and  reply  in  the 
PharsaliayVin,  1(17  11'.;  an  avoidance  of  direct  speech  in  inquiring 
the  object  of  one's  mission5  may  be  seen  in  the  following 
instances  :  Val.  Fl.  v,  167-8,  rogitant  .  .  .  quid  ausi  Quidve 
ferant  ;  Stat.  Th.  n,  31)0-1,  causae  .  .  .  viae  aomenque  rogatus 
Ediditj  xii,  5  11-.",,  Explorat  causas  victor  poscitque  benigno 
In  tin'  Punica,  vn,  '27  IT.  and  vm,  77  ff.  oppor- 
tunities are  offered  for  increasing  the  number  of  speeches  in  die 
dialogues  between  Cilnius  and  Hannibal,  and  Aeneas  and  Anna, 
ctively.     Again,  in  the  Bcene   in    the    Lower   world  (xiii), 

'In  book  xiii  tin-  speeches  by   Autonoe  (vv.  435 fl.,  489 fl.)   and  the  Sibyl 
729  3.,  7"i7  (T. )  have  nol  been  considered  pari    "f  tli- 

ipio  i-  given  a  ih.  (   .  Hei      .  op.  cit. ,  | 

9inon's  conference  w iili  thi  a  len.  u,  I 

Cf .  Hei  "l  • 


80  Aspects  of  tin-  Speech  in  the  later  Roman  Epic 

Scipio's  questions  are  given   in  the  indirect  form  in  vv.  752  ff., 
798,  and  831-2. 

In  other  situations  also  one  frequently  finds  a  simple  statement 
or  a  few  verses  of  oratio  obliqua  introduced  instead  of  a  direct 
speech.  In  the  Pharsalia,  VI,  319  ff.  Pompey  replies  to  his 
followers,  the  substance  of  whose  speech  is  given  in  the  preceding 
verses;  in  ix,  123  ff.  the  dialogue  between  Cn.  and  Sex. 
Pompeius  is  followed  by  the  statement,  Sed  Cato  laudatam  iuvenis 
compescuit  iram  (v.  166).  In  the  Argonautica,  it,  557  ff. 
Valerius  avoids  more  than  address  and  reply  in  Laomcdon's 
conversation  with  Hercules;  again,  in  v,  570  ff.,  the  scene 
between  Jason  and  Aeetes  might  have  been  lengthened.  In  the 
;<1.  ii,  176—200  Adrastus's  reply  to  the  appeals  of  Tydeus 
and  Polynices  is  not  given  in  the  direct  form.  Note  the  restric- 
tion in  the  scene  between  Mago  and  Hannibal  in  Sil.  It.  x,  372  ff., 
where  only  one  of  the  three  opportunities  for  speech  is  taken 
advantage  of  by  the  poet.  A  like  brevity  appears  in  Claudian's 
account  of  Bellona's  interview  with  Tarbigilus  in  In  Eutrop.  II, 

;Y. 
/at  has  been  seen  above  that  the  largest  number  of  speakers  is 
often  found  in  the  meetings  of  senates  or  councils;  but  even  here 
there  occasionally  occurs  a  noteworthy  limitation  of  direct  speech. 
So  in  the  Argonauts'  discussion  as  to  whether  or  not  Hercules 
should  be  left  on  the  shores  of  Mysia  (Val.  Fl.  in,  613-714), 
only  three  of  the  speeches  are  given  in  the  direct  form,  though 
four  other  opportunities  for  speech  are  oiferedlat  vv.  614,  629, 
640,  and   601.     The  scenes  descriptive  of  the  assemblies  of  the 

bians  (Val.  Fl.  v,  261  ff.)  and  of  the  Argives  (Stat.  Th.  II, 

363  ff.;    vill,   275  11'.)  are    without    oratio    recta.  [Of  the    gods 

contending   before  Jupiter  as  to  the  fate  of  Thebe\s  and  Aro-os 

(.•^U+^rThr-^-SSS-i^),  only  Bacchus  is  assigned  a  direct  spcechj 

the  absence  of  oratio  recta  from  the  Punica,  i,  67211'.,  where 

Roman  senate  debates  the  question  of  war  with  Carthage. 
^Passing  to  the  question  of  points  of  technique  in  which  the 
Roman  epic  affords  a  contrast  to  the  Greek,  one  finds  standing 
out    prominently  the   use  of  the  parenthetic  verb  l  and   phrase, 

1  Enninfl  places  the  verb  fatur  within  the  speech  in  Ann.  360  (Vahlen). 


Aspects  of  the  Sjjcech  in  the  later  Roman  Epic.  31 

through  the  presence  of  which  the  speech  becomes  less  formal  and 
more  colloquial  in  tone.  In  addition  to  the  simple  verb  other 
phrases  were  introduced,  until  finally  narrative  entirely  foreign  in 
purpose  to  the  verb  of  saying  was  inserted  within  the  body  of  the 
speech."]  The  first  extension  is  seen  in  the  familiar  use  of  a  noun 
subject  with  the  verb,  as  in  Aen.  vi,  259,  conclamat  vates;  Val. 
Fl.  v,  293,  Pallas  ait;  Stat.  Th.  yii,  78,  Occupat  Armipotens  ; 
Sil.  It.  xiii,  785-6,  inquit  Docta  comes  Triviae.  Additional 
phrases  appear  in  Val.  Fl.  in,  259,  attonito  conclamat  ab  agmine 
Tiphys ;  Stat.  Th.  ix,  663— 4,  confusa  vicissim  Virgo  refert; 
x,  268,  hortatur  clara  iam  voce  sacerdos.  The  parenthetic 
expression  is  still  further  lengthened  in  Aen.  vi.  7i:.">,  Suscipit 
Anchiscs,  atqne  ordine  singula  pandit;  xn,  425—6,  lapyx  I 
clamat  primnsque  animos  accendit  in  hostem  ;  Val.  Fl.  VII, 
dixit  spesque  addidit  alas.  To  be  noted  here  are  the  two  cas<  -  in 
Vergil  in  which  the  conclusion  of  a  division  of  the  speech  is 
indicated  before  the  speaker  continues;  viz.,  vi,  628—9,  ETaec  ubi 
dicta  dedit  Phoebi  longacva  sacerdos,  u  Sed  iam  age  ;  854—5,  Sic 
pater  Anchises,  atque  haec  mirantibus  addit :  "Aspice.1  In  one 
instance  Vergil  breaks  into  the  speech  twice  with  differenl  parts 
of  the  parenthetic  expression  :  cf.  XI,  459-60  : 

"  Immo  "  ait  "  o  cives"  arrepto  tempore  Turinis, 
"Cogite  concilium 

Silius    [talicus,  following  the  Vcrgilian  precedent,  separates  the 
ooun  and  verb  in  ix,  IS]: 

"Non  rerborum,"  inquit,  "stimulantum,"  Poenu  ,  '  i    <-iis 

This  tendency  i-  more  aoticeable  in  the  Argonautica,  from  whioli 

I  lie  follow  ing  types  may  be  cited  : 

••N  I  Scythici"  Tirynthius  "oatia  ponti 

ii,  ."»7I. 

'•  I ticam "  nit  " ac  i  ■  tfl  labemqne  'I". 

Mo]  ra  tiii-ns  "  aon  si  mortalia  memb 

in,  :.. 

[ovii  "  ondiqufl  "pn 
minant,  "  o  magnanimii  memoranda  pahu 

iv.  :. 

'Cf.  Withofa  punctuation  <-f  SiL  Ii.  nix,      0. 


:V2  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

Note  thf  presence  of  a  second  verb  with  an  adverbial  phrase  in 
vn,  257-9  : 

"quin  hoc"  ait  "audi 
Atque  attolle  genas"  lacrimisque  haec  infit  obortis  : 
"Cum  levis  aetheriis  ad  te  modo  laborer  auris, 

The  parenthetic  use  of  a  word  connected  grammatically  with 

other  words  outside  the  speech  may  be  seen  in  the  Aeneid,  v, 

166-7  : 

"Quo  diversus  abis  ?  "    iterum  "  pete  saxa,  Menoete  !  " 
Cum  clamore  Gyas  revocabat : * 

Here  again  Valerius  Flaccus  shows  a  more  varied  usage.     Com- 
pare : 

"  Sequor,  o  quicumque  deorum" 

Aesonides  "ciet"  altus  ait, 

iv,  674-5. 

Contra  inscius  astus 
"Ergo  nee  hie  nostris  derat  labor  arduus  actis" 
Bzcipit  Aesonides  "et  ceu  nihil  aequore  passis 

v,  541-3. 

Mars  saevus  ab  altis 
"Hostis  io,"  conclamat  equis  "agite  ite,  propinquat," 

vi,  28-9. 

The  connective  que  is  placed  within  the  speech  in  iv,  473-4  : 

Sustulit  hie  geminas  Phineus  ad  sidera  palmas 
"Te"  que  ait  "  iniusti,  quae  nunc  premis,  ira  tonantis  2 

As  a  still  further  development  of  this  custom,  forming  a  striking 
feature  of  the  speec1  n  the  Roman  epic,  should  be  mentioned  the 
use  of  inter^ol  •  .a  narrative  as  what  may  be  termed  stage-direc- 
tions •  .-ie  speech  in  this  way  gains  largely  both  in  naturalness 
and  effectiveness.  This  practice  is  especially  significant  as  show- 
ing the  undoubted  influence  of  the  drama  upon  the  Roman  epic 
through  the  medium  of  rhetoric,  and  it  is  a  suggestive  fact  that  in 
the  Metamorphoses  of  Ovid,3  the  dramatic  story-teller  of  Roman 

lCf.  also  vn,  120-1. 

<  )vi.l,  Met.  i,  456,  734,  752,  756  ;  n,  33,  642 ;   in,  644 ; 
iv,  337;  v,  195,  290— et  saepe. 

ii  the  pure  parenthesis  is  employed  (cf.  n,  283  ;  in,  562  ;  v,  280,  282  ; 
vn,  660  ;  ix,  17;  xn,  88),  or  narrative  descriptive  of  a  gesture  of  the  speaker 
(cf.    i.  -1;    vin,  575;    xi,   693,    7125-7,    753;    xm,   132-3,  264,   458). 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  33 

literature,  one  finds  a  free  use  of  such  interpolated  phrases,  iu 
many  cases  similar  to  that  observed  in  the  epic.  These  phrases, 
termed  stage-directions,  representing  a  conscious  adaptation  of  a 
custom  of  the  drama,  are  frequently  employed  to  describe  a 
gesture  of  the  speaker,1  and  in  two  of  the  following  case  are 
introduced  as  pure  parentheses  :  - 

At  raniurn  hunc  "  (aperit  ramum,  qui  veste  latebal  | 
"  Adgnoscas." 

Aen.  vi,  106-7. 

Cum  talis  animos  iuvenum  et  tarn  certa  tulistis 
Pectora."     (Sic  meraorans  umeros  dextrasque  tenebat 
Araborum  et  voltnm  lacrimis  atque  ora  rigabat.  ) 
"  Quae  vobis, 

Aen.  ix,  249-5'J. 

Hunc  tamen,  orba  parens,  crinem"  dextraque  secandum 
Praebuit  "  hunc  toto  capies  pro  corpore  crinem, 

Stat.  Th.  ix,  900-1. 
"  Accipe  digna 
Et  Capua  et  nobis,"  inquit,  "consulta."     Togaque 
Armatuni  amota  nudat  latUB,  "hoc  ego  belluni 

Sil.  It.  xi,  316-S.3 

More  often  the  narrative,  with  a  verb  of  saving  preceding  in 
some  instances,  is  introduced  after  a  pause  in  the  speech.'  This 
use  of  stage-directions  appears  in  the  Aeneid,  [V,  657  ff.,  where 

Note  also  the  extended  phrases  within  the  speech  ( II,  3G1  ;  in,  116-7;  iv.  638  J 
vi,  263  ;  :..  275-6),  and  the  verb  of  Baying  separated  from  n-  subject  (m,  634-5  ; 
iv,  767-3  :  v.  178  9,  195-6;  \.  276  ;  mi,  227-8  ;   \iv,  37-8). 

1  Observe  the  use  of  Buch  phrases  along  with  the  parenthetic  verb  in  Val.  Fl. 
iv,  7")7,  Fatur,  et  o  tentans  prolem  CoviB ;  Btat.  Th.  v,  565  6,  Clamat,  El  trabe 
fraxinea  Capaneus  Bubil  obvius  ;  Sil.  It.  vn,  801,  inquit  pariterque  manus  ad  tela 
ferebat;  \i\',  135,  Clamat,  cunctantis  nrgens  umbone  caterva  . 

'Closely  related  to  the  above  is  the  use  of  the  parenthesis  as  :>  means  <>f 
enabling  the  reader  better  to  understand  the  words  or  Btate  of  mind  .if  the 
speaker.    The  Aeneid  affords  an  illustration  of  such  a  parenthesis  in  Latinus' 

addn  \       is  in  en,  206  7,  I  I    ceptrum  hoc"  (deztra  Bceptru am  forte 

Numquam  fronde— ."    Cf.  also  Stat.  Th.  en,  7-9;  Bil.  It.  xm,  I  19 
■I  :  xvi.  342 
also  ra,  7\ 

in  which  no  appreciable  interval  of  time  elapsi   .  have  been  re 
In  the  application  of  this  rub    more  latitude  ha 
allowed  where  the  narrative  describes  action  which  breaki  Into  the  speech,  a    in 
Btat.  'I'll,  m,  77 


s 


34  Aspects  of  the  Speech  in  the  later  Unman  Epic. 

Dido's  action  is  described  before  the  concluding  words  of  her 
monologue  : 

Felix,  lieu  minium  felix,  si  litora  tantum 
Numquam  Dardaniae  tetigissent  nostra  carinae." 
Dixit  et  os  impressa  toro  "moriernur  inultae, 

In  the  Argonautica,  vn,  449—51  the  latter  part  of  Medea's  speech 
to  Jason  is  preceded  by  the  following  verses  of  narrative  : 

Titania  iamque 
Gramina  Perseasque  sinu  depromere  vires 
Coeperat ;   his  iterum  conpellat  Iasona  dictis  : 

in  the  Thebaid,  XI,  (!25-31  Oedipu^'s  lament  closes  with  a  cry 
of  disappointment  alter  his  fruitless  search  for  the  swords  in  the 
bodies  of  his  sons  : 

Solvite  quaeso  manus  infestaque  vincula  tandem 
Dividite,  et  medium  nunc  saltern  admittite  patrem." 
Talia  dequestus  paalatim  insumpserat  iras 
Mortis,  et  occulte  telum,  ni  nata  vetaret, 
Quaerebat ;  sed  cauta  maim  subtraxerat  enses 
Antigone.     Furit  inde  senex  :   "  Ubi  noxia  tela? 
Heu  Furiae,  num  totum  abiit  in  corpora  ferrum  ?" 

For  other  examples,  cf.  Val.  Fl.  I,  723-4;  Stat,  Th.  vi,  173  ; 
vii,  359-62  ;  ix/73-4  ;  x,  439-40  ;  xil,  92-3;  Ach.  I,  908  ; 
Sil.  It.  xi,  532-G  ;  xm,  762.1 

The  narrative  is  introduced  within  the  speech  not  only  to 
describe  a  gesture  of  the  speaker,  but  also  to  represent  an  act  or 
state  of  the  person  addressed.  This  type  occurs  in  Jason's  lament 
over  Idmon  and  Tiphys  in  the  Argonautica,  v,  54  ff.  : 

Rectoremque  tuae  moneas  ratis."     Haec  ubi  fatus, 
Sola  viruin  flammis  vidit  labentibus  ossa. 
"t^uod  tamen  extremis  unum  solamen  in  oris 
Restat  "  ait,  "  caras  humus  haec  non  dividat  umbras 

Again,  in  the  Aehilleid,  I,  785  ff.,  Ulysses's  speech  to  Diomedes 

1  <  Veasionally  in  the  later  epic,  narrative  is  employed  to  denote  a  continuation 
of  the  speaker's  words,  though  addressed  to  a  different  person,  as  in  Val.  Fl.  VI, 
287,  Sic  furit  et  patrias  coeptis  ferus  advocat  umbras.  Cf.  also  Val.  Fl.  i,  561-2  ; 
Sil.  It.  xi,  ■"»  12-4  (cf.  it,  643-5  and  Stat.  Th.  vm,  80-4,  where  there  is  a  change 
of  address  though  not  indicated  as  here);  xv,  361. 


Asjieets  of  the  Speech  in  the  later  Roman  Epic.  35 

is  twice  broken  into  by  narrative  describing  the  effect  of  his 
words  upon  Achilles  : 

Aspicit  intentum  vigilique  haec  aure  trahentem, 
Cum  paveant  aliae  demissaque  lamina  flectant, 
Atque  iterat  : 

(vv.  794-6). 

Exisset  stratis,  ni  provida  signo 
Deidamia  dato  cunctas  hortata  sorores 
Liquisset  mensaa  ipsum  complexa.     Sed  haeret 
Respiciens  Ithacum  coetuque  novissimus  exit. 
Ille  quoque  incepto  paulum  ex  sermone  remittit, 
Pauca  tamen  iun^ens  : 

(vv.  802-7). 

Cf.  also  Th.  in,  7G  ff.  An  instance  closely  resembling  that  cited 
from  the  Achilleid  (vv.  794-6)  occurs  in  the  Punica,  XI,  349-53, 
within  Pacuvius's  appeal  to  his  son  : 

An  tristia  vincla 
Et  Decius  non  erudiunt  componere  raenteni  ?  " 
Talia  commemorans,  famae  maioris  amore 
Flagrantem  ut  vidit  iuvenem  surdumque  tiniori  : 
"  Nil  ultra  posco,  refer  in  convivia  gressum  ;  ' 

A  third  type  of  the  narrative  as  stage-directions  brings  into  the 
speech  a  new  element  as  an  occasion  for  the  speaker  to  continue. 
Compare  the  Sibyl's  words  addressed  to  Aeneas  in  Vergil,  VI, 
562  IV.  : 

torvosquo  sinistra 
[ntentans  anguis  vocal  agmina  saeva  sororum." 
(Turn  demum  borrisono  stridentee  cardine  sacrae 
Panduntur  portae. )     "  Cernis,  custodia  qualis 
\'i  stibulo  sedeat  ? 

(vv.  -">7l -."i). 

bows  an  instance  of  tlii-  use  of  stage-directions  in  a 
speech  within  a  speech  in  Th.  v,  129  ff.,  where  Polyxo  takes 
advantage  of  the  appearance  of  the  fleet  in  the  distance  to 
strengthen  her  appeal  to  the  Lemnian  women: 

ii  tot  in  caedi  -  .-mi mum  promittil '.' "     Agebat 
Pluribna ;  advereo  nituerunl  vela  prof  undo; 
Lemnia  classia  erat.     Rapnil  jai  i    a  P0I3 %." 
1',  rtunam  atqae  iterat  :  "Superiane  vocantibuB  nltro 

I  >>-nm>i-  ?  ecce  rat    I   den    b 

»Cf.  Sil.  It.  i-..  L65ff.  2<f.  alaoTb.  .  BiL  it,  n,  512 


;}(>  Aspects  of  the  Speech  in  the  later  Roman   Epio. 

In  the  use  of  the  parenthetic  expression  Lncau  and  Claudian 
stand  apart  from  the  other  epic  poets.  In  only  two  instances  (vi, 
762,  i ii< [ii it  Thessala  ;  IX,  979,  monstrator  ait)  does  Lucan  break 
into  the  speech  with  anything  more  than  the  simple  verb,  while 
Claudian  admits  the  noun  subject  with  the  verb  only  in  R.  P.  II, 
215,  Pallas  ait;  in,  134, subicit  Cybele;  Pr.  et  Oh  127,  Dux  ait. 
In  one  ease,  R.  P.  in,  270,  the  participle  vociferans  is  used 
parenthetically,  though  limiting  a  noun  preceding  the  speech. 
The  parenthesis  and  narrative  descriptive  of  gesture  are  totally 
absent  from  the  speeches  of  these  two  poets,1  a  fact  which,  in  the 
of  Lucan,  bears  out  Heitland's 2  criticism  of  the  formal 
character  of  the  speeehes  and  their  lack  of  spontaneity. 

[That  the  Roman  epic  departed  from  the  formality  of  the 
Greek  custom  in  allowing  the  speech  to  begin  and  end  within 
the  verse,3  has  been  noted  by  Kvicala 4  and  Elderkin,5  who 
considers  this  practice  an  indication  of  "a  less  sharply  defined 
feeling  as  to  the  objectionableness  of  a  sudden  transition  from 
narrative."  In  this  respect  the  later  epic  shows  even  more 
freedom  than  Vergil,  for,  with  the  exception  of  the  Argonautica, 
where  the  speech  more  frequently  closes  with  the  verse,  in  every 
case  the  percentage  of  speeches  beginning  and  ending  within  the 
verse  exceeds  that  in  the  Aeneid.  J  A  comparison  of  the  usages 
of  the  various  poets  may  be  made  from  the  following  table.6 


1  R.  P.  m,  295  fl.  and  312  ff.,  have  been  considered  separate  speeches  ;  the  inter- 
vening narrative  in  both  cases  serves  as  a  reply  to  Ceres' s  complaints. 

21.  c,  p.  lxx. 

3  For  speeches  beginning  within  the  verse  in  Ennius,  cf.   Ann.  45,   111,  394 
(Vahlen). 

1  Beitrage  zur  Erklarung  der  Aeneis,  pp.  -<J5-74. 
I  >p.  cit. ,  pp.  8,  9,  10  ;  cf.  also  Nbrden,  Verg.  Aen.  vi,  p.  135. 

6  The  same  liberty  is  allowed  in  the  use  of  speech  within  speech,  though  the  two 
speeches  of  this  type  in  Claudian  begin  with  the  verse. 


Aspects  of  the  Speech  in  the  later  Roman  Epic. 


37 


Number  of 
Speeches. 

No.    begin- 
ning within 
the  Verse. 

$  beginning 

within  the 

Verse. 

No.  ending 
within  the 

Verse. 

ending 
within  the 
Verse. 

331 

120 
188 
280 
299 
102 

82 
42 
68 
127 
122 
39 

25 
35 

36 
45 
41 
38 

81 

73 

40 

L20 

74 
30 

24 

Lucan2 

61 

Valerius  Flaccus 

21 
43 

Silius  Italicus 

25 
29 

A  further  departure  from  the  formality  of  the  Greek  epic  is 
seen  in  the  occasional  omission  of  intervening  narrative  wheo 
introducing  the  speeches  in  dialogue.  With  the  single  exception 
of  Lucau,  all  the  poets  of  the  later  period  offer  one  or  more 
instances  of  this  liberty,  sanctioned  by  Vergil  in  Aen.  vi,  719  ff., 
722  ff. ;  ix,  257  ff.  The  Argonautica  yields  four  examples  (in, 
377 ff. j  iv,  161  ff.;  v,  292 ff.,  584 ff.),  the  Thebaid  seven3  (i, 
465  j  iv,  536  ff.  j  ix,  663  ff. ;  x,  431  ff.  j  xi,  258,  259,  260  ff.4). 
Silius  Italicus  departs  from  the  conventional  method  but  twice 
(xin,  785  ff.,  874  ff.),  Claudian  only  once  (R.  P.  in,  133  ff.). 
It  is  worthy  of  remark  that  in  ten  of  the  seventeen  instances 
cited,  there  occurs  within  the  speech  such  an  expression  as 
Excipii  Ascanius  (Aen.  ix,  258)  or  coufusa  vicissim  Virgo  veferl 
(Stat.  Tli.  ix,  663-1).     The  simple  verb  ait  is  found  in  Val.  Fl. 


■The  statistics  for  the  Aeneid  differ  slightly  from  those  given  by  Evicala 
(1.  c. ),  wlin  includes  the  beginning  of  Aeneas' s  narrative  at  a,  3,  as  well  as  tlu> 
speeches  within  speeches,  with  the  exception  of  vi,  620.  Evicala  omits  v,  166, 
615  6;  vii.  L16;  x,  737,  739-41.  The  lull,, win-  arc  wrongly  classified:  m, 
660;  i\,  333,  6731  I ')  ;  vm,  185.  [n  the  above  figures  for  Vergil,  rv,  651-62  has 
been  regardi  ;  also  vi,  562  632  and  756 

ra  detailed  arrangement  of  these   peechesin  the  Pharsalia,  cf.  the  recent 
■  iti'.n  by  R.  Faust,  De  Lucani  I  kationibus,  Pars  c,  Regimont.  1908,  pp.  6  T. 
The  writer  first  bad  an  opportunity  to  examine  this  monograph  «  bile  the  present 
work  was  iii  pn         I                         tion  embraces  speeches  within  speeches  in 
Iff. ;  iv,  6  it;  it.  ;  viii,  i:;:;  it.  ;  cr,87ff. ;  also  Pompey's message  to  the  Par- 
thian                  iii-  direct  form  in  nn,  218ff.   (cf.  w.   I,  p.  26,  supra.).     IV, 
o  is ,,,,!  included  in  Fan  t's  list. 
»Tb.  m,  546,  Quid  furtim  La<  -  led  as  part  of  Ampbia 

i       \ i ii-i r-  Lemaire  and  Lactantiu  .  b.  L 
I  I  to  E sles  arc  not  strictly  dialogue. 


38  Aspeots  of  the  Speech  in  the  later  Roman  Epic. 

iv,  161  j  Stat.  Tli.  iv,  536.  The  words,  Ille  refert  contra,  follow 
Polynices's  brief  reply  in  Stat.  Th.  I,  465.  Six  of  these  speeches 
begin  within  the  verse  (Stat.  Th.  i,  465;  XI,  258,  259,  260  ff. ; 
Bil.  It.  xm,  785  if.;   Claud.  R.  P.  m,  133  if.). 

Among  the  questions  yet  to  be  considered  concerning  the  use 
of  the  speech  in  the  later  epic  is  that  of  the  monologue.  Here 
Valerius  Flaccus x  is  especially  deserving  of  study,  for  in  the 
Argonautica  one  finds  monologues  assigned  not  only  to  Medea  in 
books  vii  and  viii,  but  also  to  various  other  characters,  such  as 
Jason  (i,  150  ff.;  iv,  704  ff.),  Pelias  (i,  712  ff.),  Hercules  (iv, 
51  ff.),  Hecate  (vi,  497  ff.),  Juno  (i,  113  ff.;  m,  510  ff.),  Nep- 
tune (i,  642  ff.;  iv,  118  ff.),  Jupiter  (vi,  624  ff.),  and  Minerva 
(vi,  741  ff.).  In  this  respect  Valerius  affords  a  notable  contrast 
in  Apollonius,  who  confines  the  monologue  to  Medea  and  Mene.2 
In  the  forms  of  introduction  the  poet  avoids  the  repetition  of  set 
phrases,  as  may  be  seen  from  the  following  instances :  Quos 
talibus  amens  Insequitur  solitosque  novat  Saturnia  questus  (i, 
111-2);  Iugemuit  Iuno  tandemque  silentia  rumpit  (in,  509); 
Ingemit  ac  tales  evolvit  pectore  questus  (iv,  117);  has  imo 
referebat  pectore  voces  (vi,  496)  ;  Talibus  aegra  niovens  nequi- 
quam  pectora  curis  (vi,  623) ;  medio  sic  fata  dolore  est  (vn,  8) ; 
molli  semet  sic  increpat  ira  (vn,  127)  ;  talia  fatur  (vn,  197)  ; 
haec  ....  gemuit  (viii,  9);  secum  (i,  150;  vi,  741);  inquit 
(i,  643;  iv,  51,  706);  ait  (i,  713;  vn,  331).  Following  the 
custom  of  Vergil,3  Valerius  frequently  allows  the  monologue  to 
be  addressed  to  an  imaginary  hearer  rather  than  to  the  speaker's 
self,  as  in  I,  712  ff.,  Pelias  to  Acastus  and  Jason;  iv,  51  ff., 
Hercules  to  Hylas ;  118  ff.,  Neptune  to  Melie,  Jupiter,  and 
Amycus;  704 ff.,  Jason  to  the  sea;  vi,  497  ff.,  Hecate  to  Medea; 
vn,  198  ff.,  Medea  to  Jason  (in  part);  338  ff.,  Medea  to  Aeetes 
and  Circe  (in  part)  ;  viii,  10  ff.,  Medea  to  Aeetes. 

The  type  of  monologue  which  serves  to  portray  the  state  of 
mind  of  the  speaker  in    a    definite  situation    is    given    a    much 

1  For  Lucan's  use  of  the  monologue,  v.  Easore,  1.  c. 
'  Cf.  Elderkin,  op.  cit.,  p.  39. 
3Cf.  Heinze,  op.  cit.,  p.  422. 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  39 

more  important  place  in  the  Argonautica  than  in  the  Aeneid.1 
Illustrative  of  this  class  is  the  monologue  of  Pelias  in  I,  712  ft'., 
expressing  his  fear  for  the  safety  of  Acastus,  his  disapproval  of 
the  motive  which  led  his  son  to  enlist  in  the  cause  of  the 
Argonauts,  and  his  determination  to  wreak  vengeance  upon  the 
parents  of  Jason.  Again,  in  in,  510  ff.,  Juno,  complaining  that 
her  efforts  against  Hercules  have  been  of  no  avail,  resolves  to 
gain  her  purpose  at  any  cost.  Each  of  these  monologues,  while 
characterizing  the  speaker,  at  the  same  time  prepares  the  way  for 
some  subsequent  event,  the  former  for  the  death  of  Aeson  aud 
Alcimede,  the  latter  for  the  withdrawal  of  Hercules  from  the 
band  of  Argonauts.  The  monologues  of  Neptune  (iv,  118  ff.) 
and  Jupiter  (vi,  624  ff.)  also  show  this  double  purpose,  though 
introduced  more  especially  to  foretell  the  fate  awaiting  Amycus 
and  Colaxes,  respectively.  In  the  psychological  portrayal  of 
Medea  struggling  against  her  love  for  Jason  and  her  desire  to 
assist  him  in  the  accomplishment  of  his  task,  Valerius  has  used 
the  monologue  with  excellent  effect ;  the  poet  employs  this  means 
to  depict  the  various  stages  through  which  her  love  passes  before 
it  obtains  the  final  mastery  over  her  will.2  Thus  in  the  begin- 
ning of  book  vii  she  first  confesses  the  cause  of  her  disquietude, 
for  such  sleepless  nights  were  unknown  before  the  stranger's 
arrival.  Vet  why,  she  asks,  should  her  thoughts  be  only  of 
Jason?  It  was  not  for  her  sake  he  came  to  Colchis,  and  even 
if  he  should  care  for  her,  there  is  but  little  chance  that  they  will 
ever  see  each  other  again,  Nam  quando  domos  has  ille  revisel  '.' 
Aut  mens  Baemonias  quando  pater  ibit  ad  urbes?  (w.  16  J). 
Through   the  reference  to  the  good  fortune  <>f  those  allowed  to 

follow    such    :i    leader    she    intimates    her    desire    to    return    with 

Jason,  only    to   close  with  a   half-hearted   wish    thai    he  depart 

from    her   sight,  Bed    sic   quoque   carus   abito  (v.  20).     Ji s 

spirited  reply  (vv.  89-100)  in  accepting  the  condition-  imposed 
by  the  treacherous  Aeetes  serves  to  deepen  the  love  already  '■ 

1  <T.  Beinze,  op.  «it. ,  pp.  120  'J. 

2 Siimrii.-i -  (•■.,.  cil  ,  pp.  24  -6),  in  '<•'  "  of  Valerias'*  treatment  of  the 

in  of  love  as  compared  with i  that  of  Apolloniu   and  T 
,,f  t ! i «  m  i  tamined  here. 


10  Aspects  of  the  Speech  in  tfie  later  Roman  Epic. 

and  to  increase  fche  anxiety  of  Medea,  until  finally  (vv.  128  IT.) 
she  reproaches  herself  for  all  that  she  suffers  on  account  of  one 
who.  perchance,  will  forgel  even  her  name  :  why  should  it  make 
a  difference  to  her  whether  he  perish  or  not?  A  reason  for  her 
interest  appears  in  the  very  words  with  which  the  question  is 
concluded,  et  tanto  turbetur  Graecia  luctn  ?  This  self-reproach 
and  feigned  indifference  is  followed  immediately  by  the  wish  that 
his  fate  had  been  placed  in  the  hands  of  others,  and  that  he  had 
never  come  to  the  shores  of  Colchis.  She  next  seeks  to  justify 
her  commiugled  feelings  of  pity  and  love  for  Jason  through  the 
mention  of  his  relationship  to  Phrixus,  the  concern  of  her  sister 
Chalciope,  and  the  circumstances  under  which  he  entered  upon 
the  voyage ;  in  the  end  she  wishes  that  he  may  return  to  Greece, 
whether  victorous  or  not,  unmindful  of  the  prayers  which  she  has 
offered  in  his  behalf  and  bearing  no  ill  will  toward  her  father. 
The  arrival  of  Venus  in  Colchis  has  its  effect  upon  the  heart  of 
Medea  even  before  the  goddess  appears  to  view.  In  vv.  1 98— 
209  she  no  longer  protests  against  her  love  for  Jason ;  now  the 
thought  of  his  death  is  uppermost  in  her  mind.  In  the  opening 
words  of  her  monologue  Medea  suggests  the  means  of  escape 
which  she  herself  is  to  offer  later  :  would  that  his  mother  or  wife, 
if,  alas  !  there  be  such  a  one,  might  come  to  his  rescue  wTith 
Tin  ssalian  potions  !  For  what  can  she,  a  maiden,  do  but  weep 
for  his  misfortunes,  Quidne  tuos  virgo  possim  nisi  Here  labores? 
(v.  200).  As  if  this  inability  to  render  assistance  were  not  hard- 
ship enough,  she,  as  her  sister's  companion,  must  even  witness 
his  death.  How  can  she  bear  to  have  Jason  believe  her,  too, 
nn moved  by  his  fate,  when  she  is  so  deeply  concerned?  Her 
one  solace  is  in  the  thought  that  she  can  honor  his  last  remains, 
though  unable  to  prevent  his  death.  But  Venus  comes  in  the 
disguise  of  Circe  and  with  skillful  voice  pleads  the  cause  of 
Medea  is  unable  to  resist  the  entreaties  of  the  goddess, 
and  her  love  for  the  stranger  finally  wins  in  the  conflict  with  her 
loyalty,  to  her  father.  She  enters  the  innermost  chamber  with  the 
determination  to  bring  forth  the  magic  drugs ;  the  sense  of  shame 
overcomes  her,  and  thinking  of  death  as  a  ready  means  of  escape, 
she  hesitates  once  more  before  the  final  surrender  : 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  41 

"Tune  sequeris"  ait  "quidquam  aut  patiere  pudendum, 

Cum  tibi  tot  mortes  scelerisque  brevissima  tanti 

Effugia?" 

(vv.  331-3). 

She  delays,  gazing  at  the  fatal  drugs,  but  soon  the  desire  to  live 

triumphs.     How  can  she  die  upon  the  very  threshold  of  life  and 

give  up  all  the  joys  of  youth  and  the  companionship  of  a  brother 

not  yet  grown  to  manhood  ?     Then,  too,  she  could  not  be  so  cruel 

as  to  forsake  Jason,  who  had  placed  his  trust  in  her  alone.     Again 

the  consciousness  of  guilt  returns  and  she  attempts  to  justify  her 

course  of  action  :    her  father  should  have  exposed  Jason  to  the 

fury  of  the  fire-breathing  bulls  at  the  very  outset,  ere  her  heart 

was  touched  with  compassion  for  him  ;    she  cannot  do  otherwise 

than  yield  to  the  persuasions  of  one  so  experienced  and  powerful 

as  Circe  : 

Testor  cara  tuas,  Circe  Titania,  voces, 

Te  ducente  sequor,  tua  me  grandaeva  fatigant 

Consilia  et  monitis  cedo  minor."  l 

(vv.  347-9). 

In  Statius  the  monologue  is  less  freely  used;  the  Thebaid 
and  Achilleid  together  offer  but  eight  clear  cases,  distributed 
among  the  following  characters:  Etcocles  (Th.  in,  (i  ff.),  Apollo 
(Tli.  vi,  372ff.),  Diana  (Th.  ix,  713 ff.),  Pietas  (Th.  xi,  li;r,-70, 
471),  Argia  (Th.  xir,  20!)  ff.),  Thetis  (Ach.  i,  31  11".),  Achilles 
(Ach.  i,  624  ff.).  In  introducing  the  monologue  Statiua  favors 
th.'  age  of  ;i  simple  parenthetic  verb,  such  as  ait  (Th.  xi,  165, 
•171;  hi,  209;  Ach.  I,  31)  or  clamat  (Th.  in,  6)  orinquit  (Th. 
ix,  713).  The  phrase  secum  is  employed  in  Th.  vi,  372,  and 
Ach.  i,  624.  In  regard  to  limn,  the  monologues  of  Diana  and 
Argia  appear  a-  illustrations  of  the  type  addressed  to  an  imaginary 
furnishes  a  Bingle  example  of  the  Entscheidungs- 
monolog  in  Th.  vi,  372ff. :  Apollo,  uncertaiu  as  to  whether  he 
Bhould  favor  Admetus  or  Amphiaraus  in  the  chariot  race  in  which 
they  are  about  to  engage,  finally  determines  to  casl  his  influence 
on  the     ide  of  the  augur,  whom  so  few  joya  await  in  the  short 

'If  w.  331-3  and  838  ff.  be  considered  together,  we  have  here  the  one  in 
of  th-  Bntecheidungamonolog  occurring  in  the  Lrgonautica. 

In  the  above  analysis  the  various  notea  of  Lemaire  bave  proved  belpfuL 


12  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

time  that  he  is  to  live.  The  soliloquies  of  Eteocles  (Th.  in,  6  if.) 
ami  Thetis  (Ach.  I,  31  ff.)  may  be  cited  as  representative  of 
Statins' s  use  of  the  monologue  for  the  purpose  of  characterization. 
In  the  former  the  poet  pictures  the  forebodings  of  the  Theban 
king  suffering  the  torments  of  a  guilty  conscience,  in  the  latter 
the  feelings  of  Thetis  at  the  approach  of  the  Trojan  fleet — her 
solicitude  for  Achilles  and  her  determination  to  appeal  to  Neptune 
for  aid.  A  parallel  to  Valerius's  usage  in  the  Argonautica,  IV, 
1  1  8  if.  is  afforded  by  Statius  in  the  monologue  of  Diana  (Th.  ix, 
713  ft'.),  serving  to  prepare  for  the  approaching  death  of 
Parthenopaeus. 

Of  the  fifteen  l  monologues  in  the  Punica  seven  are  allotted  to 
Hannibal  as  follows:  vn,  147  ff.  ;  ix,  421-2;  XII,  497  ff.  ; 
xvn,  221  ff.,  260  ff.,  558  ff.,  606  ff.  Other  speakers  include 
Jupiter  (vi,  600  ff.),  Solimus  (ix,  169  ff.),  Varro  (ix,  646  ff.), 
Apollo  (xn,  407  ff.),  Hasdrubal  (xv,  508  ff.),  the  genius  of  Italy 
(xv,  523  ff),  Cato  (xv,  731  ff.),  the  soldiers  of  Scipio  (xvn, 
127  if.).  In  the  forms  of  introduction  the  phrase  secum  often 
appears,  as  in  vn,  146,  ita  secum  immurmurat ;  xv,  522,  His 
super  infrendens  sic  secum  ;  xvn,  221,  Haec  secum  infrendens  ; 
606,  Cum  secum  Poenus.  Note  the  combination  of  favorite 
phrases  in  xn,  496,  Sic  igitur  secum  curasque  ita  corde  volutat. 
The  simple  verb  inquit  is  used  in  VI,  600  ;  ix,  171,  646  ;  XV, 
508,  731  ;  xvn,  559.  The  introductory  verb  is  omitted  in  xn, 
407  and  xvn,  127.  Instances  of  the  type  of  monologue  tending 
in  form  toward  the  half-dialogue  are  offered  by  Silius  Italicus  in  vi, 
600  ff.;  ix,  169  ff.;  xn,  1()7  if.  ;  xvn,  260  ff.,  606  ff.  The 
nearest  approach  to  the  Entscheidungsmonolog  is  seen  in  xn, 
497  ff.,  where  Hannibal,  hesitating  whether  or  not  to  withdraw 
from  Capua,  finally  reaches  the  decision  to  march  on  Rome.  The 
class  of  monologues  which  characterize  the  speaker  in  a  definite 
situation  figures  prominently  in  the  Punica.  The  following  may 
be  cited  by  way  of  illustration.  In  vn,  147  ff.  Hannibal, 
discouraged  and  irritated  by  his  lack  of  success  in  the  contest  with 

ich  cases  as  iv,  006  ff.,  ix,  375  ff.,  481  ff.,  in  which  the  speaker  may  have 
intended  that  his  words  should  be  heard  by  others  present,  have  not  been  in- 
cluded here. 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  43 

Fabius,  wonders  if  his  former  victories  would  have  been  won,  had 
he  been  opposed  by  the  Roman  leader.  In  ix,  646  ff.  Varro's 
realization  of  the  baseness  of  his  flight  leads  him  to  think  of 
suicide  as  preferable  to  returning  to  Rome  in  disgrace.  In  xvn, 
221  if.  Hannibal,  indignant  that  he  should  have  departed  from 
Italy  without  having  captured  Rome,  resolves  to  return  at  once 
and  accomplish  his  purpose  ;  again,  in  vv.  558—65,  the  poet  por- 
trays Hannibal's  despair  at  the  opposition  of  the  gods  and  his 
sense  of  responsibility  for  the  miseries  resulting  from  the  war  ; 
finally,  in  vv.  606-15,  the  words  of  the  boastful  Carthaginian 
leader  reveal  a  spirit  defiant  of  the  gods  and  uncrushed  by  defeat. 

From  the  four  departments  of  Claudian  seven  monologues  have 
been  gathered  ;  of  this  number,  three  occur  in  the  mythological 
epics  (R.  P.  nr,  313  ff,  407  ff".  (Ceres)  ;  Gigan.  98  ff.  |  Pallas)), 
three  in  the  invectives  (In  Ruf.  n,  11  ff.  (Rufinus),  88  ff.  (citizens 
of  Constantinople);  In  Eutrop.  i,  373-4  (Rome)),  one  in  the 
panegyrics  (vi  Cons.  Hon.  274  if.  (Alaric)).  As  forms  of  intro- 
duction, one  finds  the  phrase,  Haec  etiam  secum  (In  Ruf.  II,  11), 
and  the  verbs  profatur  (R.  P.  in,  40(5),  fatur  (vi  Cons.  Hon. 
27:;)  :md  inquit  (Gigan.  98).  In  R.  P.  in,  313  ff.  ;  In  Ruf.  n, 
88  ff.  ;  In  Eutrop.  [,373—4  no  introductory  form  Is  employed. 
For  the  type  of  monologue  addressed  to  an  imaginary  hearer, 
compare  R.  P.  nr,  407  ff.  ;  In  Ruf.  ir,  88  ff.  (in  part)  ;  vi  Cons. 
Hon.  27  1  ff.  (in  part).  An  examination  of  this  class  of  speeches 
with  reference  to  their  content  discloses  no  case  of  the  Entschei- 
dungsmonolog.  An  excellent  example  of  the  monologue  used  for 
the  purpose  of  characterization  is  offered  by  claudian  in  vi  Cons. 
Hon.  27  1  ff.,  expressing  .Marie's  despair  in  the  midsl  of  the  mis- 
fortune- which  have  come  upon  him  \  the  monologues  of  Ceres 
(R.  P.  in,  313 ff.)  and  Rufinus  (In  Ruf.  n,  I  I  ff.)  also  serve  a 
second  purpose  in  motivating  the  action  ;  the  one  prepares  for  the 
goddess's  earch  for  Proserpina,  the  other  for  renewed  invasions 
by  the  barbarian  forces. 

The  lament  for  the  dead,  though  n<>t  really  monologue,1  is  to 
be   considered   in  ;i   discussion   of  this   phase   of  the    later  epic 

1  (  f.  I  [einze,  op.  cit.,  p.  121. 


t  I  Aspects  of  (he  Speech  vn  the  later  Roman  Epic. 

speech.  The  Pharsalia  furnishes  an  instance  worthy  of  mention  in 
Cornelia's  lamentations  (ix,  55  ff.),  provoked  by  the  sight  of  the 
flames  arising  from  the  funeral  pile  of  Pompey.1  In  Valerius 
Flaccus,  Jason  (in,  290  ff.)  and  Clite  (in,  31G  ff.)  mourn  over 
the  body  of  Cyzicus,  and  Jason  again,  in  v,  37  ff.,  over  Idmon 
and  Tiphys.  Cn  Statins  the  lament  naturally  appears  with  more 
frequency  ;  the  Thebaid  yields  as  many  as  nine  examples,  scat- 
tered through  the  various  books  as  follows  :  III,  151  ff.  (Ide) ;  V, 
608  ff.  (Hypsipyle) ;  vi,  138  ff.  (Eurydice);  IX,  49  ff.  (Polynices), 
376  ff.  ( Ismenis)  ;  x,  793  ff.  (the  mother  of  Menoeceus) ;  XI, 
605  if.  (Oedipus) ;  xn,  72  ff.  (Creon),  322  ff.  (Argia).2  In  these 
laments  in  the  Thebaid  one  finds  certain  similarities  in  the  modes 
of  thought  of  the  different  speakers,  though  there  occurs  but 
little  repetition  of  phrase  :  so  the  one  lamenting  grieves  over  the 
change  in  the  condition  or  appearance  of  the  loved  one  (in,  154— 
6  ;  v,  G13-5 ;  ix,  381-4  ;  xn,  322-4),  or  refers  to  the  wounds 
of  the  dead  (hi,  153;  ix,  69-70;  x,  813-4;  XI,  624;  xn,  340), 
or  places  the  responsibility  upon  the  gods  or  others,  who  in  some 
cases  are  immediately  exonerated  of  all  blame  (vi,  143-50 ;  XI, 
617-23  ;  v,  620-4  ;  x,  795-803  ;  xn,  333-7).  No  example  of 
this  type  of  speech  is  found  in  either  Silius  Italicus3  or  Claudian. 
The  collective  speech,  representing  the  words  of  several  or 
many  speakers,1  is  seldom  made  use  of  by  Vergil;  only  four 
instances  are  found  in  the  Aeneid.  /  The  warning  of  the  Trojan 

ites  is  expressed  in  in,  154  ff.,  and  the  lament  of  the  Trojan 

women  in  V,  615-6.     vm,  293  ff.  is  devoted  to  the  priests'  song 

to   Hercules,  and  xi,  483  ff.  to  the  prayer  of  the  Latin  matrons. 

In  the  later  epic  the  collective  speech  is  more  prominent.     Nine 

appear  in  Lucan  (i,  248  ff. ;  n,  45  ff.,  68  ff.;  hi,  307  ff. ; 

399-400;  V,  261  ff.,  682ff. ;  vm,  HOff. ;  ix,  848  ff.),  five 
in  Valerius   Flaccus  (i,  627  11'.;  n,  113-4;  iv,  327  ff.;  v,  17  ff., 

'('f.  Cornelia' 8  words  (vm,  639ff.)  uttered  jusl  before  the  death  of  Pompey. 

'The  complaints  of  Lycurgus  (vi,  197  ff.)  and  the  Argives  (vm,  174  ff. ) 
should  also  be  noted  here,  though  diiTering  cither  in  content  or  situation  from 
the  laments  cited  above. 

'I  II'..  Hannibal  to  Sychaeus,  is  not  a  clear  case. 

»Cf.  Ennius,  Ann.  110  ff.  (Vahlen). 


Aspects  of  the  Speech   in  the  later  Roman  Epic.  45 

550  ff.),  seven  in  Statius  (Th.  i,  1 73  ff. ;  vn,  123  ff. ;  vm,  174ff.  j 
x,  67  if.,  584  ff.,  588 ;  xn,  472-3).  Silius  Italicus  furnishes 
nine  examples  (i,  568  ff.,  598  if.  ;  VII,  78  ff.  j  VIH,  659  ff.  ;  XI, 
603  ff.;  xn,  643  ff;  xv,  571  ff;  xvi,  342-3;  xvn,  127  ff), 
Claadian  ten  (B.  Gild.  488  ff. ;  B.  Goth.  461  ;  R.  P.  n,  367  ff; 
In  Ruf.  ii,  88  ff,  228  ff,  261  ff,  385  ff.  (?);  In  Entrop.  I,  350  ff., 
359  ff.  ;  vi  Cons.  Hun.  570  ff.).1  In  connection  with  Statius 
several  additional  instances  are  to  be  noted  in  which  two  char- 
acters speaks  simultaneously,  as  in  the  reply  of  Tydeus  and 
Polynices  in  Th.  i,  447  ff.  :  Vix  ea,  cum  mixto  clamore  obliqua 
tueutes  Incipiunt  una:  "Hex  o  mitissime  Achivum,  Quid  verbis 
opus?  Cf.  also  Th.  v,  669-71;  VI,  816-7.  Note  the  abridg- 
ment in  the  singular  example  occurring  in  Th.  XII,  458—9,  where 
the  poet  gives  in  turn  the  words  of  Antigone  and  Argia  de- 
manding punishment  from  the  soldiers  of  Creon  :  hacc  fratris 
rapuisse,  haec  coniugis  artus  Contendunt  vicibusque  probant. 
"  Ego  corpus,  ego  ignes,  Me  pietas,  me  duxit  amor."  Elsewhere 
in  the  later  epic  but  one  case  appears  in  which  the  same  words 
are  given  to  two  speakers  :  cf.  the  formula  of  exhortation  in  Sil. 
It.  iv,  98,  "Anna,  viri,  rapite  arma,  viri,"  dux  instat  uterque. 
^ \<  significant  of  the  content  of  these  collective  speeches,  the 
following  typical  classes  may  be  mentioned  :  complaints  of  sol- 
um! citizens  (Luc.  r,  24.S  ff.  ;  n,  45  ff  ;  v,  261  ff.  j  ix, 
sisir.  ;  Si;,t.  Th.  I,  173  ff;  Claud.  In  Ruf.  n,  88  IT.);  expres- 
sions-of_fcar  (Stat.  Th.  vn,  123 ff.),  sorrow  (Th.  vm.  [74 ff.)" 
wonder  (Th.  xn,  172-3),  joy  (Val.  VI  iv,  327ff.j  Claud.  B. 
Goth.  461  IV.)  ;  opinion-  in  regard  to  political  affairs  (Stat.  Th,  x, 
:U.  588  IT.  ;  T31aud.  In  Eutrop.  i,  350  ff.,  359  II'.) ;  prayers  to 
gods  (Val.  Fl.  v.  L7ff.;  Stat.  Th.  x,  <i7  IT.  ;  Sil.  It.  xn, 
V.,;  wordj  Qlfixhortatkin.  (Sil.  It.  xv,  671  K  ;  xvn,  127(1".  ; 
Claud.  B.  Gild.  188  IT.).  <  >jdv  occasionally  La  the  snjbjecl  singular 
in  form.  /Ae  parallels  to  ili<'  Greek  usage,8 one  finds  the  indefinite 
aliquis  id   Luc.   n,  ('»7  ;    Stat.  Th.  i.  171  ;    (laud.  In    Eutrop.  i. 

within  speeches  in  Stat.  Th.  v,  491-2,  and  sil.   it..     □      16-6,  doI 
incladed. 

i  .  op.  cit.,  pp.  12  '■'>  i  :ii  o  I  au  i.  op.  cit.,  p.  2 1,  n  iih  review  by  l.'. 

Helm  in  Woch.  Fiir  K'l.  PhiL,  1908,  no.  52,  cols.  I  I 


16  Aspects  of  the  Speech  in  the  later  Roman  Epic. 

350  ;  the  indefinite  alter  in  In  Eutrop.  I,  358  ;  the  distributive 
quisque  in  Sil.  It.  xv,  571  ;  XVII,  127.  For  quisque  in  the  form 
of  conclusion,  compare  Luc.  I,  257. 


j  The  results  of  the  preceding  investigation  may  be  briefly  sum- 
marized as  follows  : 

1.  In  the  later  Roman  epic,  in  general,  one  finds  a  restriction 
of  the  conversational  side  of  speech  with  a  nearer  approach  to 
declamation,  for,  compared  with  the  standard  of  Vergil,  the  later 
epics  show  a  decrease  in  the  amount  of  speech  employed  as  well 
as  in  the  number  of  speeches,  with  the  exception  of  Statius's 
Achilleid  and  Claudian's  historical  epics  in  the  one  case,  and  of 
the  Argonautica  of  Valerius  Flaccus  in  the  other.  Moreover,  the 
average  length  of  the  speech  tends  to  increase  in  the  later  epic, 
though  here  again  Valerius  Flaccus  affords  a  contrast  to  his 
contemporaries,  for  the  speeches  in  the  Argonautica  are  even 
shorter  than  those  in  the  Aeneid.  Lucan,  Silius  Italicus,  and 
Claudian  employ  a  larger  number  of  speeches  exceeding  40  verses1 
in  length  than  docs  Vergil,  while  Statius's  poems  contain  only 
about  one-half  as  many  such  speeches ;  the  Argonautica  shows 
practically  no  departure  from  the  Vergilian  practice.  Again,  the 
tendency  which  Vergil  shows  to  restrict  the  length  of  dialogue  and 
to  confine  the  speech-scenes  within  narrow  limits  is  even  more 
noticeable  in  the  later  epic,  especially  in  Lucan  and  Claudian. 

2.  An  examination  of  the  various  books  of  the  different  epics 
with  reference  to  their  percentages  of  speech  reveals  the  fact  that 
dramatic  interest  and  lively  action  are  frequently  indicated  by  a 
large  number  of  speeches  rather  than  by  a  high  percentage  of 
speech. 

3.  In  the  practice  of  inserting  speech  within  speech  the  later 
epic  follows  the  example  of  Vergil  ;  the  large  majority  of  such 
speeches  occur  within  those  40  verses  or  more  in  length. 

4.  The  speakers  in  the  Roman  epic  are  confined  to  gods  and 
men,  unless  the  case  in  which  the  figure-head  of  the  Argo  speaks 

lThe  longest  speech   in  the   Koman  epic  (450  vv.)  is   found  in  Statius,  the 
shortest  (2  words)  in  Claudian. 


Aspects  of  the  Speech  in  the  later  Roman  Epic.  47 

to  Jason  in  a  dream  be  considered  an  exception.  In  regard  to 
objects  addressed,  greater  liberties  are  allowed  ;  one  finds  speeches 
directed  to  the  sacred  doves  of  Venus,  the  Trojan  ships,  a  hero's 
arm  and  spear,  to  horses,  the  Argo,  the  dragon,  etc. 

5.  In  the  different  epic  poems  the  principal  characters  are 
naturally  the  most  prominent  speakers ;  in  Vergil,  for  example, 
Aeneas  has  21  per  cent,  of  the  331  speeches,  practically  the 
same  proportion  as  that  assigned  to  Hannibal  in  the  Punica. 
Through  the  conventional  use  of  the  supernatural  as  a  motivating 
force  the  gods  are  given  an  important  place  as  speakers  in  all  the 
Roman  epics  with  the  exception  of  the  Pharsalia.  Especially 
noteworthy  in  this  respect  is  the  usage  of  Claudian,  who  all 
mythological  figures  39  per  cent,  of  the  total  number  of  speeches 
in  the  various  poems,  exclusive  of  those  instances  in  which 
sonified  rivers  and  localities  speak. 

6.  But  little  of  the  decrease  in  the  percentage  of  speech  in  the 
Roman  epic,  as  compared  with  Homer,  is  due  to  the  presence  of 
oratio  obliqua,  for  in  the  Punica,  where  speech-material  is  most 

^.abundant,  there  occur  only  200  odd  verses  of  indirect  discourse, 
tV4^  which,  if    converted    into    the    direct    form,  would   increase   the 
amount  <>f   speech   in   the  poem  less  than  one  and  three-fourths 
per  cent. 

7.  A  more  perceptible  cause  of  the  decrease  in  the  percentage 
of  speech  in  Vergil,  due  to  the  more  cultivated  taste  of  the 
artificial  epic,  is  the  restriction  of  direct  speech  in  messenger- 
scenes,  a  tendency  to  avoid  superfluous  repetition,  noticeable  also 
iii  the  later  epic;  a  simple  statement  or  the  presence  of  the 
messenger  or  a  few  verses  of  oratio  obliqua  indicates  that  the 
envoy  hud  been  despatched,  or  thai  the  mi  as  delivered. 

8.  Striking  departures  from  the  custom  of  the  Greek  epic  are 
found  in  the  habit  of  beginning  and  ending  the  speech  within 
tin-  verse  (extended  in  the  later  epic)  '  and  in  the  privilege  of 
introducing  the  speeches  in  dialogue  without  intervening  narra- 
tive;3  the  Roman  epic  thus  avoids  the  formality  of  the  Greek 

1  Note  the  exception  in  tin'  Argonaotica. 

2  Lucan  (iITith  the  only  exception  in- re. 


is  Aspects  "j  tin    Speech  in  the  later  Roman  Epic. 

epic  and  at  the  same  time  adds  to  the  realism  and  effectiveness 
of  the  situation,  as  may  be  seen  from  Polynioes's  ready  reply 
to  Tydeus  in  the  heated  argument  before  Adrastus  (Stat.  Th.  i, 
465).  His  speech  follows  immediately  that  of  his  rival  ;  the  poet 
purposely  avoids  the  use  of  narrative  to  conclude  the  former 
speech  or  to  introduce  the  latter.  A  still  more  marked  contrast 
to  the  Greek  epic  is  afforded  in  the  introduction  within  the  speech 
of  increased  phrases  and  narrative  serving  as  stage-directions. 
The  Roman  epic  here  shows  the  influence  of  the  drama  in  its 
desire  to  give  a  natural  and  life-like  portrayal  of  the  situation, 
an  influence  not  observed  in  Lucan  and  Claudian,  as  such  inter- 
polated narrative  descriptive  of  gesture  and  the  like  is  entirely 
absent  from  the  more  formal  speeches  of  these  two  poets. 

9.  The  Vergilian  type  of  monologue  addressed  to  an  imaginary 
hearer  frequently  occurs  in  the  later  epic  ;  in  the  forms  of  introduc- 
tion there  is  found  but  little  repetition  of  stereotyped  phrase. 
The  class  of  monologues  which  serve  to  portray  the  state  of  mind 
of  the  speaker  in  a  definite  situation  figures  more  prominently 
than  in  the  Aeneid  ;  in  Valerius  Flaccus  particularly  is  this  the 
case/]}  The  Entscheidungsmonolog  is  rarely  used  ;  the  later  epic 
offers  but  three  instances.  Only  in  the  Thebaid  is  there  any 
considerable  amouut  of  lament  for  the  dead. 

10.  The  collective  speech  appears  with  greater  frequency  in 
the  later  epic  than  in  Vergil.  As  in  Apollonius  and  Quintus,1 
the  purpose  of  this  class  of  speeches  is  to  express  feeling  and 
opinion  rather  than  to  assist  the  action  of  the  poem.  J 


1  Cf.  Elderkin,  op.  eit.,  pp.  42-3. 


LIFE. 

Herbert  Cannon  Lipscomb  was  born  in  Salisbury,  Md., 
September  17,  1882.  In  the  autumn  of  1898  he  entered  Ran- 
dolph-Macon College,  where  he  graduated  with  the  degree  of  A. 
B.  in  1901,  and  A.  M.  in  1902,  having  served  as  Instructor  in 
Latin  during  the  last  two  years  of  his  course.  The  two  sessions 
following  his  graduation  were  spent  in  teaching  in  Randolph- 
Macon  Academy  at  Bedford  City,  Va.  In  October,  1904  he 
entered  the  departments  of  Latin,  French,  and  Italian  of  the 
Johns  Hopkins  University,  where  he  studied  under  Professors 
Smith,  Wilson,  and  Armstrong,  Associate  Professor  Ogden,  and 
Doctors  Barrett  and  Shaw,  to  all  of  whom  he  wishes  to  acknowl- 
edge his  obligations.  To  Professor  Smith,  under  whom  his  work 
in  Latin  was  mainly  done,  he  is  especially  indebted.  Also  to 
President  li.  E.  Blackwell  of  Randolph-Macon  College,  to 
Associate  Professor  D.  M.  Robinson  of  the  Johns  Hopkins 
University,  and  t<>  Dr.  G.W.  Elderkin  of  the  American  School 
at  Athene  he  desires  t<>  express  bis  appreciation  of  the  interest 
shown    in    the   present  work    and   of  the  many  helpful  suggestions 

offered  during  it-  preparation. 


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